{"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":269,"pdf_page":282,"physical_index":282,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"c7ed2e41680648733a505fe322adc6beb85a5526cd40677fba1b74a9ea68301d"},"chapter":"bodies in code","content":"Using an apparatus that allowed an active kitten to move about freely while carrying a gondola containing another, passive kitten, Held and Hein demonstrated that active or voluntary movement was central to the development of sensorimotor skills. Thus, the active kittens developed normal sensorimotor coordination, but the passive kittens failed to do so. See Richard Held, \"Plasticity in Sensory-Motor Systems.\n\nxv. Incidentally, Jonas' imaginary case very nearly approximates the situation of what Bergson, in the first chapter of Matter and Memory, calls \"pure perception.\" Like the winged seed endowed with eyes, pure perception simply registers the flow of images without correlating this flow with any organizational principle (for Bergson, bodily affection and personal memory) that could give it meaning. In Bergson, the notion of pure perception was only a heuristic device to illustrate how the body as a “center of indetermination” is simply one image among others in a universe of images and thus can be deduced from this universe (rather than being posited as something standing over against it, as in idealism and realism). When Deleuze generalizes Bergson's notion as the basis of his understanding of cinema (in the movement-image and the timeimage), he makes the error that Jonas is accusing the philosophical tradition of making: lending vision an illegitimate autonomy from the lower sensory modalities of the body. (See Deleuze 1986). I develop a critical account of Deleuze's move in New Philosophy for New Media.\n\nxvi. Like Osmose, Ephémère utilizes semitransparency and spatial ambiguity and an interface based on breath and balance. However, it moves beyond Osmose by foregrounding the temporality of the experience, rather than its spatiality and simplifying the spatial elements to three principle levels. Here is Davies' description of Ephémère:\n\nIn seeking to deal with the ephemerality of life, this work expands the spatiality of Osmose to encompass temporality. While Osmose was based on spatial organization of various worlds, and stasis of most elements within (except flowing particles), Ephémère relies on the emergence and transformation of form, and the ebb and flow of visibility and audibility. Ephémère contains three horizontal levels: landscape, subterranean Earth, and interior body. 'The landscape is constantly transforming through time. The relationships between the various elements and the participant are more interactive or inter-responsive. In Osmose, interaction was limited to navigation and the resulting ambiguous perceptual readings of gestalt-like compositions were dependent on the changing participant location (with the exception of the fully interactive sound). In Ephémère, gaze has been introduced as a means of interaction: rocks “open\" when gazed upon, revealing landscapes which quickly fade, and in the earth, seed sprout if approached slowly with a steady gaze, blooming, then fading back into the earth. I introduced the interior flesh body as the substratum in Ephémère (quite a change from the software code that formed the base of the Osmose world) as a means of reaffirming the poetic correspondence or coequivalence between earth and body.... anecdotal responses from some of the three thousand people who have experienced Ephémère ... suggest that this second work feels much more interactive, and evokes a sensation of being swept up and away, without a secure unchanging place to return to (i.e., the clearing in Osmose), i.e., one has to surrender to the experience. (Karl O'Donaghue and Char Davies, \"Interview with Char Davies.\" 3-4).\n\nxiv.\n\nNOTES\n\n269","previous_page":268,"next_page":270}