By Mark B. N. Hansen
Bodies in Code explores how bodies adventure and adapt to electronic environments. Cyberculture theorists have tended to miss organic truth while speaking approximately digital truth, and Mark B. N. Hansen's publication exhibits what they have been lacking. our on-line world is anchored within the physique, he argues, and it is the body--not high-tech machine graphics--that permits anyone to suppose like they're quite "moving" via digital truth. after all those digital stories also are profoundly affecting our very realizing of what it potential to reside as embodied beings.
Hansen attracts upon fresh paintings in visible tradition, cognitive technological know-how, and new media reviews, in addition to examples of special effects, web pages, and new media artwork, to teach how bodies are in many ways already changing into virtual.
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Additional resources for Bodies in Code: Interfaces with Digital Media
By this I do not mean a purely informational body or a digital disembodiment of the everyday body. I mean a body submitted to and constituted by an unavoidable and empowering technical deterritorial‑ ization—a body whose embodiment is realized, and can only be realized, in conjunction with technics. As I shall argue in this study, it is precisely through the vehicle of bodies-in-code that our contemporary techno‑ culture, driven by digital technologies, comes to constitute a distinct concrete phase in our contemporary technogenesis (our originary yet historico-technically differentiated coevolution with technics).
The new technical environments afford noth‑ ing less than an opportunity to suspend habitual causal patterns and, subsequently, to forge new patterns through the medium of embodi‑ ment—that is, by tapping into the flexibility (or potentiality) that char‑ acterizes humans as fundamentally embodied creatures. That this principle comprises the explicit focus of Krueger’s first, predigital responsive environment amply attests to its centrality in his aesthetics. 1). The room is entirely dark except for the multi‑ colored phosphorescent light tubes which form the only visual point of reference for the visitor.
On this conception, interactivity can be distinguished from pre‑ vailing notions of the period and from more contemporary technicist visions. It is at once more codified than the radically open-ended envi‑ ronments of process art and happenings and yet more open and flexible than the preprogrammed response repertoires that one finds in socalled interactive cinema and hypertext. What is crucial in Krueger’s conception of interactivity, as in his humanist conception of artificial reality more generally, is the privilege accorded embodied (human) agents.