{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","uuid":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","normalized_title":"bodiesincodeinterfaceswithdigitalmedia","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","isbns":["0415970164","0415970156","9780415970167","9780415970150"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":348,"navigation_url":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title_url":"https://workshop.closeclaw.top/ai/title/Bodies%20in%20code%20%20interfaces%20with%20digital%20media","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","page_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page","search_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/search"},"page":{"printed_page":235,"pdf_page":248,"physical_index":248,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"4ef4acd6428d9bd3849bf1a67b59f51600bee723ffb272918e4bcc787141872f"},"chapter":"bodies in code","content":"Love,\" can she begin to see Navidson \"as something other than her own personal fears and projections.\" Through this mediation, Karen is able to witness how much Navidson \"cherished the human will to persevere\" and to glimpse the \"longing and tenderness he felt toward her and their children\"(368).\n\nEven as it testifies to the irreducible complicity between character and mediation in this novel of mediations, this example also folds into itself supplementary layers of mediation which obscure even that measure of reconciliation that would seem to be effected between Karen and Navidson. Here, the fact that Karen's method is to let “Navidson's work speak for itself\" could not be more significant. The Navidson she rediscovers is not the private Navidson that she so desires, but rather the Navidson that appears through the lens of his photographic mediation.\n\nThis conflation is symbolized by the conclusion of Karen's film which, despite showcasing material from Karen's own hand (a home video of Navidson and his children at play in their new home), serves above all to highlight the inadequacy of film as a documentary medium. Unable to follow Navidson's actions as he grabs their daughter Daisy and holds her up to the blinding sun, the film culminates in total overexposure, showing Navidson (and the children that tie Karen to him) simply vanish[ing] in a burst of light,\" as if transmogrified into the materiality of film (368).\n\nThis recognition of the limitations of orthographic recording technology is not, however, restricted to localized \"character\" perspectives, but rather is woven increasingly tightly into Zampanò's unfolding narrative. At first this takes place thematically, as events reveal the utter impossibility of documenting that space. Following Exploration #3, in which the house appears for the first time in its immensity, the adventurer Holloway matter of factly pronounces the eclipse of orthography: \"It's impossible to photograph what we saw\" (86). For Zampanò, the force of this pronouncement suspends any lingering faith in the redemptive power of Navidson's extraordinary gift:\n\nEven after seeing Navidson's accomplished shots, it is hard to disagree with Holloway. The darkness recreated in a lab or television set does not begin to tell the true story. Whether chemical clots determining black or video grey approximating absence, the images still remain two dimensional. In order to have a third dimension, depth cues are required, which in the case of the stairway means more light. The flares, however, barely illuminate the size of that bore. In fact they are easily extinguished by the very thing they are supposed to expose. Only knowledge illuminates that bottomless place, disclosing the deep ultimately absent in all the tapes and stills—those strange cartes de visites. (87)\n\nTHE DIGITAL TOPOGRAPHY OF HOUSE OF LEAVES\n\n235","previous_page":234,"next_page":236}