{"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":239,"pdf_page":252,"physical_index":252,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e6ef812bfb2a6bbdd8563a98cb78eb38f3ac811ac2e5495f19b5f967a4b9c7cc"},"chapter":"bodies in code","content":"I thumbed through the pages, virtually every one marked, stained and red-lined with inquiring and I thought frequently inspired comments. In a few of the margins, there were even some pretty stunning personal riffs about the lives of the musicians themselves. I was amazed and shocked and suddenly very uncertain about what I had done. I didn't know whether to feel angry for being so out of the loop or sad for having done something I didn't entirely understand or maybe just happy about it all. There's no question I cherished the substance of those pages, however imperfect, however incomplete. Though in that respect they were absolutely complete, every error and unfinished gesture and all that inaudible discourse, preserved and intact. Here now, resting in the palms of my hands, an echo from across the years. (514)\n\nBeyond signifying the author's loss of authority over his text and the merging of author and reader functions, this passage attests to Truant's simultaneous recognition of the singularity of his “reading\" and the singularity of every other act of reading that might concretize his text. That is precisely why the pages he holds in his hand are at once “incomplete\" and “absolutely complete.\"As the potential trigger for subsequent acts of reading—a trigger whose potential stems precisely from the failure of an orthographic fixing of the events recounted in the text—these pages are necessarily incomplete; however, as a cipher of Truant's experience of reading the text—an experience that exists only in his embodied actualization (as the perception of an inaudible echo from the past)—they are perfectly complete. As in the earlier \"Navidson-matchlight\" episode, the point here is not so much to introduce epistemic logjams as it is to foreground the correlation between the postorthographic condition and the role of singular readerly embodiment. This correlation yields a model of reading that I propose to call copying with a difference.\n\nNot surprisingly, given the thematic and theoretical focus of House of Leaves, the reconfiguration of the novel as a copy with a difference is the direct payoff of the text's agon with other media. If the novel appears to be the victor in this agon, it is because it undergoes a fundamental transformation in its function. Liberated from its vocation as a means to stabilize, resurrect, and pass on the past-that is, to cash in a referential promise—the novel in its postorthographic form operates as a kind of machine for producing what we might call \"reality affects\" in the reader.\n\nThe payoff—or the realization—of the reader's singular concretization of House of Leaves, such a reconfiguration is anticipated from the very first page of The Navidson Record, where Zampanò urges the reader to ignore debates concerning the veracity of the film and to dwell instead on what is actually in the film: \"Though many continue to devote substantial time and energy to the antinomies of fact or fiction, representation or artifice, document or prank, as of late the more interesting material dwells exclusively on the interpretation of events within the film\" (3).\n\nTHE DIGITAL TOPOGRAPHY OF HOUSE OF LEAVES\n\n239","previous_page":238,"next_page":240}