{"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":283,"pdf_page":296,"physical_index":296,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"752e7e717dceea2123b1ad31fe185c04ed299e5c516333acf692e5a246b4d2b1"},"chapter":"bodies in code","content":"As a step toward the production of nontraditional tropes in “real architectural space,\" this something more necessarily involves the body as a constitutive element of architecture's internal resonance: the correlate of the excess named the figural, the body's capacity to sense space affectively opens up new, invisible, and properly interstitial spaces:\n\nArchitecture's being already has an internal consistency which could be considered machinic, that is, there could be tropes, already given which are not the same as a formal architectural trope which is always added to a functional container. Rather than a figural trope would be one that already exists prior to its unfolding in spatiotemporal coordinates. That is to say whether one considers figural tropes important to articulate or not is not the issue. Since their possibility already exists in a machinic process, they can only be repressed by choosing not to articulate them. If they are articulated, they will appear differently in space than they previously did as formal tropes. This difference can be seen, for example, in the trope of the interstitial.\" (\"Processes of the Interstitial: Notes on Zaera-Polo's Idea of the Machinic,\" 31)\n\nviii. See my book, New Philosophy for New Media, for an account of digital art as a catalyst for bodily affectivity.\n\nix. For an account of Simondon's conception of individuation that differentiates his ontology from Deleuze's, see Mark Hansen, \"Internal Resonance, or Three Steps Towards a Non-Viral Becoming.\n\nx. For a critique of contemporary cyberarchitecture along these lines, see the analysis of structural engineer Harald Kloft and critic Andreas Ruby. In an account of Bernhard Franken's \"BMW projects\" that would apply equally to any number of contemporary projects, structural engineer Kloft shows how the deployment of parameter-driven processes renders form autonomous:\n\nNOTES\n\n283","previous_page":282,"next_page":284}