{"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":236,"pdf_page":249,"physical_index":249,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"f9846b7a5ec811e3f7525ccdb5ae88c5d167d86f4775d407ce6ea6cf07dfd752"},"chapter":"bodies in code","content":"Later, when it is taken up by Navidson, this contrast between orthographic illumination and some kind of deeper, sightless knowledge serves explicitly to introduce the superiority of print. In a snippet from \"The Last Interview\" detailing the rescue of Billy Reston (a document curiously missing from the inventory of supplementary materials assembled in the appendices, as Hayles underscores), Navidson recounts his discovery of the incongruity between mediated representation and reality:\n\nWhen I finally went back to the house to retrieve the Hi8s, I couldn't believe how quickly it had all happened. My leap looks so easy and that darkness doesn't seem dark at all. You can't see the hollowness in it, the cold. Funny how incompetent images can sometimes be. (344)\n\nConfirming the validity of Navidson's pronouncement, Zampanò goes on to observe that “only the interviews inform these events. They alone show us how the moments bruise and bleed\" (344).xiv\n\nThis same pattern of mediation serving to highlight the comparative superiority of print over technical recording informs the novel's investment in the capacity of print to mimic and thereby subsume the operations of recording technologies like photography and film. Consider, for example, the text's simulation of the film running out, smack in the middle of the rescue. Spread out over the space of five pages (307–311, with slashes indicating page breaks) and located at various heights on the page, the following words are inscribed: \"The film runs out here, / leaving nothing else behindbut an unremarkable / white / screen.\" Here the blank page functions as a material analog of the blank screen and the word “blank,\" giving a sensory correlate to the abrupt cessation of visual information that occurs when a film runs out or when the meaning of the word “blank\" sinks in.\n\nA closely related example helps show that the line between mimicry and the differentiation of media can be a very fine one. Just prior to this moment, as Navidson, Tom, and Reston seek to rescue Holloway's assistants, Jed and Wax, from the now homicidal and heavily armed Holloway, the film captures Jed's assassination in footage that would later permit frame by frame analysis “as diligent as any close analysis of the Zapruder film.\" If, like the Zapruder film, this documentary footage affords \"ample information perhaps to track the trajectories of individual skull bits and blood droplets, determine destinations, even origins,\" it does not contain \"nearly enough information to actually ever reassemble the shatter\" or, in other words, to document exhaustively the irreversible process in which Jed's life transitioned over into death (193).\n\nBODIES IN CODE\n\n236","previous_page":235,"next_page":237}