{"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":"x","pdf_page":11,"physical_index":11,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"9b2df4a11c2cea7e2768e51758ce52018b1c743047870b9d13cb266dd8bba554"},"chapter":"bodies in code","content":"Rather, it must be understood to be a constitutive dimension of embodiment from the start.\n\nAs was the case with New Philosophy for New Media, I have benefited from the thought-catalyzing work of a diverse host of contemporary artists whose varied use of digital media has pointed the way toward an introjection of technics into embodiment. For me, new media art has helped to clarify the stakes of thinking technics in relation to Merleau-Ponty's philosophy. As an aesthetic mediation of digital technology, it has introduced technical dimensions of embodiment literally unimaginable to this philosopher, and indeed unimaginable to any philosopher writing and thinking in the middle of the twentieth century. Accordingly, in the long first section devoted to the transduction of technics and embodiment, I have endeavored to capture the crucial role played by art in my thinking by devoting a series of concrete analyses to specific artworks. My hope is that these analyses will counterbalance and enliven the more theoretical discussions of embodiment, specularity, intercorporeity, and indivision of the flesh that they punctuate.\n\nIn contrast, the focused analyses in Part II are offered as exemplary instances of “bodies in code,\" a term designating embodiment as it is necessarily distributed beyond the skin in the context of contemporary technics. Each of the topics explored here—nonocularcentric virtual environments, racial stereotyping in the context of the digital commons, the architecture of infospace, and the deformation of the contemporary novel by nonliterary media—presents a singular process through which embodiment is actively produced in conjunction with flexible new media artifacts.\n\nMy hope is that Bodies in Code will help remind us of the vital and indispensable role played by embodiment in any human experience, even that of “virtual reality” and, more generally, the virtual in the manifold forms in which it appears in our contemporary culture. With the fading of the hype surrounding virtual reality 10 years ago, we are now in a perfect position to analyze the deep correlation between embodiment and virtuality and also to take stock of how much the virtual has been absorbed into everyday life.\n\nI wager here that this changed perspective indicates an acceptance of, or at least a readiness to accept, the inherence of the virtual within human life as an embodied form of the living. Accordingly, as I seek to affirm here, the virtual is by no means limited to contemporary digital technologies (even if it has a certain elective affinity with the digital), but rather stretches back to the proto-origin of the human. Once it is understood in this way, the conjunction of the virtual with the powerful technologies of the digital computer can then be seen to furnish a rich source for experimentation with and expansion of the scope of human embodiment.\n\nBODIES IN CODE\n\nx","previous_page":10,"next_page":12}