{"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":256,"pdf_page":269,"physical_index":269,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"f9460156b356cd1a7d0cbc07dba9dd7bc66dd652d0df0d1852bc4ffd695472ee"},"chapter":"bodies in code","content":"xviii. When they note that “the interactive behavior of the observer as it is observed in the exhibition process is an integral part of the work' (“Images of the Body in the House of Illusion,\" in Art @ Science, 8), Fleishmann and Strauss recognize a recursive experiential dimension of the two works that, even if it remains too empirical, nonetheless opens the path toward this understanding.\n\nCHAPTER 1\n\nKrueger notes: \"My term artificial reality' referred to this metaphor as much as to any particular means of implementing it. I deliberately made the term provocative and liked the fact that it was an oxymoron\" (Turner).\n\nii. When Krueger observes that the term \"artificial reality\" was \"more loaded [when he started] than it is now,\" he underscores his explicit and intentional desire to confront the flat-footed humanism of the art world whose \"default position was outright hostility towards technology\" and which associated technology with dehumanization. Now that the tides have shifted, we must lay stress elsewhere by insisting that the \"artificial\" does not stand in opposition to the \"natural”\" and indeed forms an “originary\" element of the natural. This is precisely what is at stake in Krueger's position as new media art pioneer.\n\niii. Krueger is clear concerning his endorsement of technogenesis as \"originary\" and its consequences for humanism: \"I view technology as the essence of our humanity. An empty hand signals that our anatomy is incomplete until we pick up a tool. In addition, I consider technology an inevitable consequence of the laws of physics and therefore as natural as the birds and the bees\" (Turner).\n\niv. Söke Dinkla characterizes the environment as one that puts into question assumptions governing everyday interaction:\n\nThe Glowflow-environment irritates habitual spatial perception using visual and auditory means. While the sense of vision—essentially responsible for orientation in space—is disturbed through the experience of the light-emitting tubes, irritation of hearing also occurs through nearly unlocalizable noises. The result is a room with apparently autonomous qualities, one with a life of its own, that counteracts everyday experience and that manifests above all in the sensorium of the visitor. Aside from these experiences, which vary greatly from one another in subjective terms, Glowflow offers no habitual possibilities to make meaning. It is in a certain sense empty of contents. (66)\n\nNOTES\n\n256","previous_page":255,"next_page":257}