{"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":220,"pdf_page":232,"physical_index":232,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"03635a113ce5baf23e1f5c3c4ea2d10ff631be72d4046dc0c706fc0227c84d20"},"chapter":"hodiPs ICOOP-","content":"感官上的直接性，具有颠倒建筑存在功能的效果，将其转化为能够使空间可穿戴的情感强度的来源，而不是作为抽象的设计条件，而是作为具体的现象学现实。\n\n因此，尽管Arakawa和Gins认为感觉去地域化或多或少是一种内在的非历史潜力，而艾森曼认为它是文化物质性中更普遍的本体论转变的特定关联，迪勒和斯科菲迪奥则把它看作是历史上前所未有的身体与媒介相互渗透的必然结果。因此，它们为艾森曼对电子媒体与后视觉、情感现象学之间的关系的敏锐理解带来了一定程度的具体性。在模糊建筑中，危险的不仅仅是“不能再解释的视觉”，而是视觉角色的全面短路，这样情感的身体就被迫“腾出空间”(艾森曼，“展开的视觉”，84)。\n\n简而言之，“模糊建筑”利用建筑形式的变形—一用无形的、大气的雾的包围取代可见的、平面的包围一一作为一种手段，使数字革命的影响在体验上显着，给我们一种感官上的关联一一空间化的情感一一它的空间变形。回顾本章的两段铭文，我们现在可以明白，为什么身体与媒介(皮卡德)和身体与空间(诺瓦克)之间的完全流动性的结合，可以让空间变得可穿戴。虽然媒介使空间变得灵活和无形，但正是体现使中介化的空间能够在感官上被体验，就像空间变得可穿戴一样。\n\nBodies in Code\n\n220","previous_page":219,"next_page":221}