{"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":286,"pdf_page":299,"physical_index":299,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"3411c608b91c861aae1609c4111479358d40935fc659820571ed5358ecf6a672"},"chapter":"bodies in code","content":"Yet, to the extent that this integration demands a mediation—the conversion of force into affect—it necessarily brings in the body and indeed situates the body within the system of internal resonance operated by architecture. Otherwise put, if the liberation of the potentiality of matter manages to overcome architecture's traditional “rigidified structures,\" this is because it opens a whole new domain of sense (not signification): the domain of embodied affectivity. The forces actualized through the “lateral communication’ of architectural structures “provoke ever-changing conditions of inhabitation\" precisely and only through their impact on the body or, more precisely, on the body's dynamic production of space.\n\nxii. On this point, see the analysis of Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation (Durham, NC: Duke University Press, 2002), especially Chapter 6. I evaluate Massumi's understanding of the correlation of vision and proprioception in my book, New Philosophy for New Media, Chapter 6.\n\nxiii. Eisenman, Diagram Diaries, 69. Given Eisenman's interest in differentiating himself from the younger generation of so-called diagrammatic architects, this has to be seen as reinscribing the insufficiency of diagrammatic play—in and of itself—to generate new spatial experience. In this sense, it is also hardly surprising that House IV witnesses the first appearance of \"affect\" in Eisenman's work (or at least in his retrospective summation):\n\nThe House IV diagrams concerned the being of the diagram, such as the idea of wallness, as opposed to a mere plane. This was the first indication of the potential for affect to influence the diagram. The sign of wallness demanded overcoming not only the materiality of the object but also its function and meaning. (69)\n\nxiv. The following description is a paraphrase of Ingeborg Rocker's project description, \"The Virtual: the Unform in Architecture,\" 23.\n\nxv. It is hardly surprising that this difference surfaces in Eisenman's intervention into the Jury discussion for the Virtual House competition. Unlike art, which \"has no limits\" and thus need not (and indeed cannot) ever stop, architecture—Eisenman insists--would not be architecture if it did not stop: \"You shouldn't be asking architects, 'Why do these machines stop?' It's not architecture if they don't stop. 'Why do these machines enclose?' It's not architecture if they don't enclose. 'Why do these machines shelter?' They must shelter, or they become art\" (Eisenman, in Foster, \"Jury Discussion, 35).\n\nNOTES\n\n286","previous_page":285,"next_page":287}