{"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":49,"pdf_page":62,"physical_index":62,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"cfcea640397e7137f9df71a3f258d415fc222173df6967a7342f44edac7fa981"},"chapter":"bodies in code","content":"The experience of one's body proper is thus given through the same material as is one's experience of motility: namely, traces of body movement captured at or above a minimally sufficient temporal speed. Here, then, we encounter a body-in-code in a completely literal sense, meaning a body image that is indiscernible from a technically generated body schema. Describing the networked model of his project, Penny perfectly captures this productive technical fusion of image and schema. In the networked Traces, he explains:\n\nEach CAVE will use multi-camera machine vision to build real-time body models of participants. These body-models will then be used to generate abstracted graphical bodily traces in the other CAVEs. If, for instance, three CAVEs are networked, then a participant in CAVE A will interact in real time with image traces of participants in CAVEs B and C. These traces will not ... be accurate sculptural representations but will be used to drive complex algorithmic processes which will give rise to changing 3D graphical traces which indicate the presence, gesture and movement of the remote participants. Hence a person may be represented as a moving ghostlike, transparent and wispy trace. (Penny)\n\nIf a similar algorithmic procedure underlies the self-described dimension of “user experience\" in the Traces system, it not only witnesses the collapse of the body image and body schema, but also exposes this collapse as the condition of possibility for the creative deployment of the technically enactive body schema.\n\nNot surprisingly, the experience proposed by Penny and his collaborators for users of Traces is designed specifically to accommodate the gradual adjustment of the body schema to its total technical mediation. A first phase of interaction, \"Passive Trace,\" places users into feedback with traces that passively follow their movements and that gradually float and fade away. A second phase, \"Active Trace,\" allows users to build their own structures; still generated as traces of user movement, these traces are amplified by a cellular automaton algorithm that, in the words of the designers, makes them \"sparkle.' Finally, in a third phase, \"Chinese Dragons,\" the user's movements throw off small abstract creatures (resembling Chinese dragons), which initially maintain the momentum of the movements that generate them but eventually begin to behave autonomously, flying through the space and chasing behind the viewer. (Penny notes in an email (1/3/06) that the “Chinese Dragons\" interaction was a very early, if not the first, attempt to utilize basic life behaviors (flocking, etc.) in an immersive interactive 3D context.)\n\nBODIES IN CODE\n\n49","previous_page":48,"next_page":50}