{"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":44,"pdf_page":57,"physical_index":57,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d67646d1a4645fa3a62c7f998f4133499fbe427102b0833ba69fe4208d3ce16d"},"chapter":"bodies in code","content":"The blind man's stick has ceased to be an object for him, and is no longer perceived for itself: its point has become an area of sensitivity, extending the scope and active radius of touch, and providing a parallel to sight. In the exploration of things, the length of the stick does not enter expressly as a middle term: the blind man is rather aware of it through the position of objects than of the position of objects through it. The position of things is immediately given through the extent of the reach which carries him to it, which comprises besides the arm's own reach the stick's range of action.... To get used to a hat, a car or a stick is to be transplanted into them, or conversely, to convert them into the bulk of our own body. (143)\n\nMerleau-Ponty concludes that habit “expresses our power of dilating our being-in-the-world,\" which today more than ever means \"changing our existence by appropriating fresh instruments\" (143). Lodged in the body as mediator of the world,\" habit comprises a “rearrangement and renewal of the corporeal schema,\" the “motor grasping of a motor significance\" (145/142/143). Importantly, what happens in such schematic rearrangement is a passage between the body proper and the world of things, an increase in power and scope of the body's coupling to (and indifferentiation from) the environment. This is what Gil means when he speaks of the body “turning onto\" things: at stake is a \"transplantation\" of the body into things and an “incorporation\" of things into body that, with each new habit and thus each new prosthesis, leaves the boundary between them that much less discrete.\n\nIt can hardly come as a surprise, then, that the “general bodily synthesis\" carried out by habit perfectly describes, in its function as hinge linking the motor and the perceptual,xiii the accomplishment of humancomputer synchronicity in Krueger's Videoplace. By transforming the perceptuomotor coupling in a way that is immediate and in a certain sense transparent, Krueger's environment can be said to achieve a bodily synthesis, a “rearrangement and renewal of the corporeal schema\" in its motor and its perceptual dimensions. Like Merleau-Ponty's description of the blind man's stick, what is crucial here is the total and seamless integration of the technical element into the perceptuomotor body schema:\n\nBut habit does not consist in interpreting the pressures of the stick on the hand as indications of certain positions of the stick, and these as signs of an external object, since it relieves us of the necessity of doing so. The pressures on the hand and the stick are no longer given; the stick is no longer an object perceived by the blind man, but an instrument with which he perceives. It is a bodily auxiliary, an extension of the bodily synthesis. (152)\n\nBODIES IN CODE\n\n44","previous_page":43,"next_page":45}