{"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":88,"pdf_page":101,"physical_index":101,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"f86b6afac015334e0be443cbff6a59c1b0c4ea08f9e8e334a6fc44912e18388d"},"chapter":"bodies in code","content":"It should come as no surprise, given our focus here, that an elective affinity exists between this dissolution of the schema—together with the ensuing concept of“indivision\" (279)—and the virtual. What remains to be shown is how Merleau-Ponty's excavation of the transductive écart of primordial tactility serves to expose embodiment at the heart of virtual reality (and thus to confer on the latter its unavoidable status as mixed reality). That I shall do this through examination of a digital artwork should also come as little surprise. Indeed, like many other artworks discussed here, Maurice Benayoun's Worldskin (1997, in collaboration with musician Jean-Baptiste Barrière) offers a performative allegory of the passage from the domain of the image—here in the form of the virtual as the exemplary instance of the technical mediation of specularity in our world today—to the domain that informs it and (on account of our originary technicity) depends on it: namely, the domain of tactility, motility, and embodiment.\n\nCommissioned by Ars Electronica for the CAVE environment (a three-dimensional projection space encompassing three adjacent walls, floor, and ceiling), Worldskin foregrounds the crucial previously discussed distinction between operationality and observation, participation and documentation (see Figure 1.8).xxxvii The environment consists of imagery of recent war zones divided into two modes of interface: a three-dimensional world comprising sky and ground planes and a series of two-dimensional digital \"cut and pastes\" of mass media images of tanks, aircraft, buildings, and innumerable soldiers and war victims. Participants wear wireless LCD glasses which allow them to perceive and navigate seamlessly in the (passively) immersive projection space.\n\nTo interact with the environment, however, participants must make use of three still cameras hanging from the ceiling. When a participant points and shoots one of these cameras, the entire field captured by the pyramid-shaped aperture is transformed into a blank space. This destruction of the image is in turn doubled and reinforced by Barrière's audio: at the moment at which the camera is snapped, the background noises of war give way to a sonic transform in which the sound of the camera clicking is abruptly replaced by sounds of guns being fired. Each exposure is subsequently printed to paper in the form of a blank silhouette, providing the viewer with a material trace of his or her unique intervention into this archive environment.\n\nBODIES IN CODE\n\n88","previous_page":87,"next_page":89}