{"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":290,"pdf_page":303,"physical_index":303,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"8631eaf4bc1220f852ac5683b6be0e07a36fb6ea3d049b3af4956f316d1530b7"},"chapter":"bodies in code","content":"In a reversal altogether typical of Danielewski's novel, the categorical force of this declaration is put into question, though certainly not entirely undercut, by the editors' insertion of a supplementary section entitled “Contrary Evidence” and consisting of five exhibits—including a comic book depiction of the rescue scene, an architectural mock-up, and, most strikingly, a still image from the film, \"Exploration #4\"—all of which would seem to furnish contextual and, most importantly, indexical evidence of the film's existence.\n\niii. This is a claim advanced by Larry McCaffery and Sinda Gregory in Appendix 1 of their interview with Danielewski:\n\nPerhaps even more important than what these revelations about Zampanò's past may add to our understanding of [the] novel is what they imply about the overall narrative structure of House of Leaves. Once we assume that the Zampanò who wrote the novel in House of Leaves is literally the character Fellini created in La Strada, we are forced to revise our assumptions concerning the status of the world projected within Johnny Truant's framing narrative. That is, if Zampanò is only an imaginary character existing in a work of art, then everything else in the framing tale involving Johnny—including his mother, his (re)construction of the manuscript, and everything relating to the world in which this framing tale occurs—would necessarily also have to be “unreal,\" even in the sense of the imaginary “real\" posited in most works of fiction. (Danielewski, \"Haunted House—An Interview with Mark Z. Danielewski,\" 126)\n\nAlthough this analysis is certainly correct, it is merely one of many examples in the novel of paradoxical fictional framing, and thus it serves as part of what I am taking to be the novel's sustained assault on orthography, the inscription of the past as real and exactly repeatable.\n\niv. Indeed, Barthes categorically distinguishes photography from cinema, which is said to sweep away and deny the pose, the \"thought of that instant, however brief, in which a real thing happened to be motionless in front of the eye\" (78).\n\nv. Stiegler has developed a broad-ranging and original philosophy of technology in the last decade. His ongoing project, Technics and Time, now comprises three volumes: The Fault of Epimetheus, La Désorientation, and Le Temps du Cinéma et la Question du Mal-Être. Stiegler's basic argument is that the human has always been technologically exteriorized and has evolved following the operation of \"epiphylogenesis\"—evolution by means other than life (i.e., via the passage of cultural knowledge). In volumes 2 and 3, Stiegler turns his attention specifically to contemporary technologies and develops a forceful argument for the primacy of culturally sedimented, technically stored memory as the condition of possibility for the human synthesis of memory and hence for the experience of time. 'The core of this analysis concerns Stiegler's critical expansion of Husserl's account of internal time consciousness and the distinction between primary retention and secondary memory. In this expansion, Stiegler introduces a third form of memory, \"tertiary memory,\" which is defined as the storage of experiences not lived by present consciousness that nonetheless become available for adoption by that consciousness. This mechanism is precisely that of cultural inheritance, and Stiegler's great merit is to show how much it is intertwined with technics and how it is inseparable from the issue of our human experience of time. For further discussion of Stiegler's project, see Hansen 2004 (“Time”).\n\nNOTES\n\n290","previous_page":289,"next_page":291}