{"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":247,"pdf_page":260,"physical_index":260,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"4a78fe0d74eebf2d917666739a6bd837e27ec96dbd409822ff5cb2386d85907b"},"chapter":"bodies in code","content":"By articulating space and love, myth and physics open an alternative relationship to the house, one rooted less in its blanket resistance to recording (its \"digital autonomy\") than in the concrete demands it makes on understanding. According to Zampanò, recognition of the imbrication of physics and myth is essential to the task posed to the novel's reader: \"In order to even dimly comprehend the shape of the Navidson house it is ... critical to recognize how the laws of physics in tandem with echo's mythic inheritance serve to enhance echo's interpretive strength\"(47).\n\nIndeed, as the text's exemplar for the strength of a bodily hermeneutics, echo forms a model for managing the impossible labyrinth of the house and thereby repudiates the supposed \"descriptive limitations\" that preface the analysis of the house as labyrinth. If the restriction of the echo \"to large spaces\" initially seems to restrict its capacity (as compared with a recording technology like film) to “consider how distances within the Navidson house are radically distorted\" (109), following the analysis of the house as impossible labyrinth, where orthographic mediation is shown to be inadequate in principle, it is precisely this kind of restriction—insofar as it forms a correlate of embodied understanding—that is shown to be most necessary.\n\nIn what sense, then, can we understand echo to be the precondition for the description of space? Zampanò's analysis of the physics of sound explains how echo “defines,\" \"limits,\" and “temporarily inhabits” space (46): the sonic phenomenon of echo transpires through the conjunction of distance and time. What matters most, as Zampanò reminds us, is “a sound's delay\":\n\nThe human ear cannot distinguish one sound wave from the same sound wave if it returns in less than 50 milliseconds. Therefore for anyone to hear a reverberation requires a certain amount of space. At 68 degrees Fahrenheit sound travels at approximately 1,130 ft per second. A reflective surface must stand at least 56½ ft away in order for a person to detect the doubling of her voice. (50)\n\nThe production of echo, the doubling of sound—sound's différance— requires that certain empirical conditions be met: the space inhabited by sound must be neither too small nor too large (there is no echo in a space of infinite dimensions just as there is none in a vacuum). Otherwise put, the sonic phenomenon must be calibrated to the thresholds and constraints of embodied hearing—hearing as it occurs in a concrete context and through a concrete apparatus.\n\nTHE DIGITAL TOPOGRAPHY OF HOUSE OF LEAVES\n\n247","previous_page":246,"next_page":248}