{"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":52,"pdf_page":65,"physical_index":65,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"3e4f368847c3e28cdaa6e76ae2782f727d05a9e6b79a05a295eb9a13746d8aa4"},"chapter":"bodies in code","content":"Because of its explicit concern for the problematic of perspective, Penny's Traces comprises a perfect occasion to confront this confusion and to demonstrate, specifically, how the technical deployment of the body schema makes its exposure all the more urgent. Penny's description of the “user experience\" dimension of the project makes clear the centrality—indeed the privilege—accorded the operational perspective in the production and perception of the world and, specifically, of whatever body image it may sustain:\n\nThe user enters the CAVE. A small cubic virtual room with an hemispherical dome is rendered exactly onto the walls of the CAVE in simple shading. This enclosure immediately negates the illusion of infinite space found in many virtual worlds. It is a cozy space. As the user moves, volumes appear in the space which are representations of the space passed through by the body parts of the user. These volumes have a life span, they become more transparent over a period of about a minute, then disappear. After a minute or two, another set of volumes appear in the space. These are volumes created by the remote user. Users can create volumes in response to each other. After a while, this volume-building behavior changes. The user can create self-contained floating volumes, blobs or particles. Simultaneously, a small four-paned window appears in the back wall of the CAVE. Beyond this window the user can see another room exactly like the one she is in. In it is a very abstract moving anthropomorphic volume. 'This is the body model of the remote user, perhaps also with some blobs. The wall between the spaces dissolves, leaving the two users in a longer room. The users find that their blobs can be thrown and have a trajectory. They bounce off the walls. Slowly the blobs or particles begin to have their own dynamic, graphical and acoustic behavior. The particles can traverse the whole space, while the users are confined to their original part. The particles interact with each other with some sort of gravitational behavior. The space becomes populated with swarms of autonomous chattering things. Slowly it becomes more difficult to generate particles, and they die off. Projection intensity dims and the experience is over. (In an email to the author (1/3/06), Penny clarifies that this description belongs to his proposal for the Cyberstar 98 Competition and does not represent the project as realized. It does, however, eloquently, even poetically, express the privilege of the operational perspective that, willy nilly, does inform the actual project.)\n\nBODIES IN CODE\n\n52","previous_page":51,"next_page":53}