{"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":282,"pdf_page":295,"physical_index":295,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"9e4ed09efc4175fc48345df071fde324fac476bc62eb911ec11dcc370dc18ffe"},"chapter":"bodies in code","content":"V. In Gil's study, this conversion is best illustrated by the symbolic efficiency of myth: \"Symbolic efficiency ... consists in remote control,' magical action of words on body parts. For this action to have effects, words must release forces in the body; these forces must react directly on organs, on their physiology, and the body has to offer itself as a receptive surface of forces\"; as a “mediator between organs and discourse,\" the infralanguage \"must necessarily articulate paths for the circulation of energy in discourse (forces) with paths for the circulation of energy in the body (affect)\" (143). Generalized beyond the example of myth, Gil's project articulates nothing less than a theory of power as bodily power; in it, the infralinguistic body becomes the source for all meaning in the world, and meaning effectively converges with affect.\n\nvi. From Eisenman's fully enlightened vantage point as author of the teleological recapping of his career, Diagram Diaries, the newer generation's theory of the diagram is fundamentally hampered by its “indifference” to the “three conditions unique to architecture\": architecture's “compliance with the metaphysics of presence\"; the “already motivated condition of the sign”; and its “necessary relationship” to a “desiring subject\" (30). In their too enthusiastic embrace of models foreign to architecture, younger figures like Greg Lynn or FOA simply turn their backs on the motif of interiority, which is to say, on what, for Eisenman, constitutes the source of architecture's complex identity.\n\nvii. Specifically, Eisenman appropriates Deleuze's conception of the extraction of the figural developed in his study of the painter Francis Bacon. Given the singular “presentness\" of architecture, this process must be reconfigured in the domain of the architectural. Specifically, in painting the contour can be literally blurred through various spatial techniques; however, in architecture, no such blurring of the profile is possible because architecture must remain a \"literal shelter.\" What is possible instead is a blurring of the diagram and with it the entire organization, such that it is \"no longer seen as merely fulfilling a function of embodying its interior form' (\"Processes of the Interstitial: Notes on Zaera-Polo's Idea of the Machinic,\" 28). By itself, however, this extraction of the diagram from its pregiven function cannot \"guarantee\" the modification of the traditional tropes of architecture.\"The figural in itself,\" says Eisenman, \"does not necessarily embody the tropes of architecture.' Consequently—and this is what makes Eisenman's position so important—something more, a \"third step,\" is needed to correlate the figural tropes given in the machinic with the transformation of architectural interiority.\n\nNOTES\n\n282","previous_page":281,"next_page":283}