{"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":45,"pdf_page":57,"physical_index":57,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e99bb7366b7902a22ae38e982ae742d5409a39dc00b90bb75c3c869a69fb1712"},"chapter":"hodiPs ICOOP-","content":"他用来感知的工具。它是身体的辅助工具，是身体综合的延伸。(152)\n\n考虑到克鲁格将身体图式扩展到未知的“人工现实”领域的计划，我们很可能会问，当整个感知运动环境变得虚拟时一一也就是说，当身体图式的技术扩展如此之大，以至于影响到我们与世界接触的方方面面时一一会发生什么？\n\n澳大利亚媒体艺术家SimonPenny在他的虚拟现实环境《痕迹》(1998-1999)中向我们展示了这样一种情况。一个最初为网络洞穴(计算机辅助虚拟环境)设计的项目，痕迹产生一个世界，即一个感觉运动互动的空间一一由安装在CAVE四个角落的四个摄像机捕捉到的身体运动的三维痕迹(见图1.5)。通过这种方式，它将参与者的“身体、时间和动觉敏感性”置于传统虚拟现实空间的幻觉之上，作为实现沉浸感和赋予真实性的工具。对于Penny来说，这种与主流VR研究的对抗是有必要探讨的\n\nBodies in Code\n\n45","previous_page":44,"next_page":46}