{"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":37,"pdf_page":50,"physical_index":50,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"6e2a468a7ecf74e05dfe00a3e5a48424c17c6accfbd00bb1ae51af2748cde48e"},"chapter":"bodies in code","content":"Given Videoplace's eschewal of \"visual similarity\" as a criterion of function, it is hardly surprising that the payoff of its functional dissolution of the Turing paradigm would be a capacity for coupling motor activity to graphic symbols and effects that bear no direct resemblance to the human body. In this respect, Videoplace realizes a degree of flexibility unprecedented in aesthetic mediations of the body (even within Krueger's work): by coupling the motile body with graphic elements that do not visually imitate or simulate it, Videoplace opens a disjunction between the body image and the body schema. More exactly, by deploying sensors to capture the movement of the body through a concrete space and in conjunction with a virtual element, it displaces the body image-that is, a predominately visual representation of the body, a primary resemblance—and offers in its place a new, representative but not representational “image,\" a graphic symbol that attains its force only through its inclusion within the body schema, through its motor coupling with embodied enaction.\n\nFor Dan Cameron, this displacement explains how Krueger is able to bring “a new category of beauty\" into the world. By “making the body proprioceptively aware of itself, and of its relation to the artwork and to other viewers,\" Krueger manages to “reconfigure” the “representation” of the “human image\" in a decisive way (Cameron, 24). In sum, the displacement of the body image by the generative activity of the body schema is what makes Krueger's art so powerful an intervention into digital culture. In stark contrast to the fatalism of critics like Baudrillard and Kittler for whom the abstract generality of digital code marks a fundamental and irremediable departure from the phenomenological ratios governing human experience, Krueger places human embodiment in a position to constrain the “referencelessness of digital code,\" thereby installing it as the agent whose action actualizes the (abstract) potential of code.vi\n\nBODIES IN CODE\n\n37","previous_page":36,"next_page":38}