{"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":257,"pdf_page":270,"physical_index":270,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"450b0944dcab322a2cb2f599fc135050f1ccefe2c91f727176eb6f5cb6883506"},"chapter":"bodies in code","content":"v. As Dinkla notes, Krueger quickly became dissatisfied with the lack of clarity in the human-computer interaction comprising Glowflow: \"On account of the indeterminacy of the correlation between visitor action and system reaction, Krueger ultimately came to strip Glowflow of any reactive qualities and to designate it instead as kinetic environmental sculpture\"\" (69).\n\nvi. As Dinkla points out, Krueger's open environments show that “even programmable spaces can be influenced and structured through human action\" (83).\n\nvii. “The body without an image is an accumulation of relative perspectives and the passages between them, an additive space of utter receptivity retaining and combining past movements, in intensity, extracted from their actual terms\" (Massumi 2002, 57).\n\nviii. According to Gil,\n\n[I]t is in the body that the codes find their point of convergence and their first point of application: the very one that will allow language, and in particular symbolic language, to translate codes among themselves. This property of the body to be the home or the agent for the translation of signs can be designated by characterizing it as an infralanguage.\n\nAs Gil's analysis makes clear, the infralanguage forms a sensibletranscendental or infraempirical basis for sensory exchange as such (of which translation of signs is merely one privileged example). Importantly for our purposes here, the infralanguage also concerns the production of spatiality by the body:\n\nThe space of the body is made of plates, exfoliations, surfaces, and volumes that underpin the perception of things. These spaces “contain” the relations of the body to things, insofar as they are integrated in the body itself and insofar as they are translated among themselves. The elaboration of these spaces in the course of the development of an infant's mobility and organic maturity implies their constitution as spaces decodable into other spaces—that is, their constitution thanks to their activity of the decoder-body, or the infralinguistic body, each of which is thus connectable to others, associating, intermingling, and bonding according to the laws of a specific mechanism. (129)\n\nNOTES\n\n257","previous_page":256,"next_page":258}