{"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":241,"pdf_page":254,"physical_index":254,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"faa6d0be202c043698be7d5d4bd1c2443e47fb279c9645a208b0f78d3b2de8c2"},"chapter":"bodies in code","content":"Following this transformation, however, the intentionality of the necessarily real\" impact undergoes a basic shift of orientation; no longer fixated on the past, it becomes emphatically future directed. In this sense, it is most significant that the digital—and the postorthographic text—correlates with the body in a fundamentally different way than does, for example, photography. Indeed, the flexibility of text—and hence its privilege—stem directly from this difference: whereas the orthographic function of technical recording emerges from a preexistent analogy with the body, the digital (and the postorthographic text) has no such ground.xvii Barthes' depiction of the photograph as an emanation from the body simply cannot characterize recording in the digital age:\n\nThe photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star. A sort of umbilical cord links the body of the photographed thing to my gaze: light, though impalpable, is here a carnal medium, a skin I share with anyone who has been photographed. (80–81)\n\nBy contrast, what is at stake in technical recording today is no longer an analog registration rooted in the correlation between technology and the body. In the age of Photoshop, the basis for Barthes' depiction—the profound tie linking the analog with the body—no longer holds.\n\nAccordingly, we must fundamentally reconceptualize the relation between the body and technical recording. If, in Barthes' imagining, the body—direct carnal transmission—ensures the orthographic function of photography, today the body's no less fundamental mediating role must be introduced from the outside as a supplement to recording. The body must create analogy where there no longer is any or, more exactly, where none is pregiven. Rather than an inscription of the body as a stable trace of the past, what mediation in a digital environment involves is a supplementary, future-directed process of embodiment in which a carnal analogy with the digital is, as I put it in New Philosophy for New Media, forged as an “original\" supplement (Chapter 6). Most important in this transformation is the liberation of the body from its function as a support or host for orthographesis. For this reason, it is hardly surprising that House of Leaves takes pains to champion the singularity of experience, whether of the characters within its several fictional frames or of readers situated outside some—but importantly, not all—of these frames.xviii\n\nTHE DIGITAL TOPOGRAPHY OF HOUSE OF LEAVES\n\n241","previous_page":240,"next_page":242}