{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ed4482f9-2315-47ea-9750-97bb05c9236b","title":"感官技术：控制论生物体的调解","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ed4482f9-2315-47ea-9750-97bb05c9236b","id":"ed4482f9-2315-47ea-9750-97bb05c9236b","uuid":"ed4482f9-2315-47ea-9750-97bb05c9236b","title":"感官技术：控制论生物体的调解","normalized_title":"感官技术控制论生物体的调解","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":342,"navigation_url":"https://workshop.closeclaw.top/ai/book/ed4482f9-2315-47ea-9750-97bb05c9236b","title_url":"https://workshop.closeclaw.top/ai/title/%E6%84%9F%E5%AE%98%E6%8A%80%E6%9C%AF%EF%BC%9A%E6%8E%A7%E5%88%B6%E8%AE%BA%E7%94%9F%E7%89%A9%E4%BD%93%E7%9A%84%E8%B0%83%E8%A7%A3","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ed4482f9-2315-47ea-9750-97bb05c9236b/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ed4482f9-2315-47ea-9750-97bb05c9236b/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ed4482f9-2315-47ea-9750-97bb05c9236b","page_url":"https://workshop.closeclaw.top/api/ai/books/ed4482f9-2315-47ea-9750-97bb05c9236b/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ed4482f9-2315-47ea-9750-97bb05c9236b/search"},"page":{"printed_page":213,"pdf_page":225,"physical_index":225,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"08ff6673aeb6afa2ea26bca8d645a3692bb585b34886179024b4e312f02ad9cf"},"chapter":"hodiPs ICOOP-","content":"画廊空间中包含的图像和去功能化的机构道具所呈现的视角。\n\n在后来的跳切和《X,Y》中，迪勒+斯科菲迪奥放弃了国内的、制度性的道具，集中攻击图像中的视觉。这两部作品都记录了原型建筑的内部一一分别是一个电影院和一个弹珠游戏厅——从迷失方向的角度从上面观察运动。跳切(1995年)安装在加州圣何塞的联合艺术家电影院，在电影院大楼外的12块液晶屏幕上展示了剧院顾客乘坐自动扶梯的图像(电影预告片定期穿插)(见图4.11)。在这里，图像从观众的具身取向中解耦——para-site中已经存在的解耦—一与(实际上，成为了)对建筑内部的批判性干预相结合(实际上，成为了一种载体)，正如爱德华·迪门伯格所建议的那样:\n\n将视频图像与支撑它的建筑的实际空间方向解耦，这些装置以一种将空间视为可塑的、与观察者分离的、并以新的组合重新编程的方式展示了不同的观点。装裱\n\nWearable Space\n\n213","previous_page":212,"next_page":214}