{"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":34,"pdf_page":47,"physical_index":47,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e5e1eb1f7c6598c7d3d302905ab198fe33a6e33e0d66a67724b5dfb74570bdb5"},"chapter":"bodies in code","content":"The operative technical element of this intrinsic feedback circuit is the use of motion sensors (in the place of the artist's external intervention); by placing the visitor into real-time interaction with data capturing the movement of her reactions within the environment, Psychic Space transforms embodied movement into the source of creative indetermination and, consequently, into the aesthetic focus of the environment. Dinkla emphasizes the (relative) novelty of this configuration:\n\n[Psychic Space] confronts the visitor ... with the graphic, projected image of a lozenge that follows her movement. Just as Krueger moved the pen across the data tablet in Metaplay, now the visitor can couple herself to the graphic symbol through her embodied movement. The fact that the visitor engages in communication by way of her body stands in stark contrast to the typical interchange with the computer from this time .... (Dinkla, 73, emphasis added)\n\nAlthough the visitor is initially invited to focus on the lozenge's function as a symbol of her self, the lozenge soon becomes enclosed by a small square that, triggered by the visitor's effort to move beyond this confine, then becomes a maze within which she is beckoned to wander freely. The aesthetic interest of the environment is thus shifted from the feedback circuit to the interactive possibilities that it facilitates.\n\nIn stark contrast to typical computer games, these possibilities offered by Psychic Space are not guided by any clearly defined goal and do not culminate in the successful accomplishment of a task. Rather, the environment is designed in such a way as to hinder the viewer's progress toward any such goal; for example, the computer will suddenly readjust the configuration of the maze at the moment when the visitor is nearing its exit, or it will shift the output generated by the visitor's movement so that it correlates with horizontal rather than vertical movement of the graphic symbol. In sum, the computer here functions to perturb the natural tendency of the primarily motile visitor to pursue a prescripted goal and thereby to foreground the flexibility and generativity of unreflective, learned social rules against the rigidity of the explicitly coded “if-then,\" rules governing the operation of computers (as well as the predominant visions of human-computer interface at the time).\n\nAs Dinkla puts it, Psychic Space “automatizes\" socially coded, embodied behavior by prototyping its deployment as a source of creative feedback for adaptation to constantly changing situations (74). In this way, the environment continually solicits the visitor to affirm her agency, which is to say, the fact that the remapping and extension of her movement into this new space is the environment's driving purpose.\n\nBODIES IN CODE\n\n34","previous_page":33,"next_page":35}