{"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":91,"pdf_page":104,"physical_index":104,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"477328c99bde5678a7e11f769033d978d3e31bb53b8ca1bf6ad46366c6231c2d"},"chapter":"bodies in code","content":"This agonistic face-off with photography yields a fundamental reorientation of virtual reality technology that exposes virtual reality—at least as it exists in the world today—as mixed reality, as a dimension or property of the “real\" world. Normally understood to be a form of passive immersion, a distancing fascination that insulates “first world” spectator-citizens from the real, as Žižek famously contended in his denunciation of Western reactions to 9/11,28 virtual reality here becomes a technical interface to the world that succeeds because it taps into the transductive coupling of embodiment and technicity constitutive of the human.\n\nThe viewer's presence in this environment—her capacity to act within it-accordingly becomes a function of the technical distribution of her embodiment, of her exteriorization into the various effects of his or her intervention within the environment. To the extent that this distribution coincides with the transformation of the image from the superficial representation of the visible (the image of the body of the other) to the material traces or indices of the viewer's kinesthetic movement (the blank spaces and the paper print-outs which uniquely inscribe the viewer's position and orientation toward the images), it constitutes a paradoxical form of“embodied disembodiment.\" I would suggest that this disembodiment perfectly expresses the contemporary (technically specified) form of the “indivision\" invoked by Merleau-Ponty at the end of his exploration of the human body in Nature.\n\nThat such embodied disembodiment (or disembodied embodiment) instances the process of informational framing explored at length in New Philosophy for New Media fully attests to its role as an actualization, in and for the technical epoch of digital immateriality, of the originary indivision of the flesh (primary tactility). Worldskin calls on the viewer to coproduce images from information in conjunction with a digital environment, and its CAVE infrastructure inverts the relation of vision and touch so that, as Anne-Marie Duguet puts it, “the look does not 'touch' the image so much as the image touches the entire body\" (210). However, precisely because it deploys this inversion as the vehicle for the viewer's disembodiment, Worldskin perfectly expresses (in the act of performatively exposing) the contemporary (technical) dissolution of the divide between interiority and exteriorization, the flesh of my body and the flesh of the world.\n\nBODIES IN CODE\n\n91","previous_page":90,"next_page":92}