Hansen’s Bodies in Code

Mark B.N. Hansen
Bodies in Code: Interfaces with Digital Media
Area: Digital Media

•    Bodies in code: a term designating embodiment as it is necessarily distributed beyond the skin in the context of contemporary technics
Ix: “My explicit aim is to show how Merleau-Ponty’s final ontology of the flesh, with its postulation of a fundamental indifference between body and world, requires a technics—a theory of the originary technicity of the human.  Because the human is essentially a being distributed into nonoverlapping sensory interfaces with the world, it is characterized by a certain ‘gap’ or ‘divide- by what Merleau-Ponty calls an ecart.  As I show, the most primordial form of this ecart is the transduction between embodiment and specularity, the transduction that informs the emergence of the visual from primordial tactility.  This transduction (a relations that is primary with respect to its terms) is an instance (indeed, it is the protoinstance) of the inherence of technics within embodied life.”
•    The virtual now denotes a space full of information that can be activated, revealed, reorganized, and recombined, added to and transformed as the user navigates ewal space
•    Motor activity—not representationalist verisimilitude—holds the key to flux and functional crossings between the virtual and physical realms
•    The first generational model of VR as a disembodied hyperspace free of all material constraints simply no longer has any purchase in our world
•    The priority (or the ‘superiority’) of the analog: always on arrival a transformative feeling of the outside, a feeling of thought (Massumi)
o    Outside coming in
o    The analog creates reality out of forms or mixing realms, out of transformations
•    All reality is mixed reality
•    Theory has become almost simply coextensive with the claim (Sedgwick and Frank)
•    What makes the passage from one realm to another so seamless, so unnoticeable, so believable?
•    Blindspot (the photo montage of the parts of the body the artist cannot see) recognizes the inescapability of a cofunctioning of ‘natural’ perception and technically extend perception
•    Across the virtual body our culture constructs its own body image
•    Rigid Waves: the ‘mirror’ art—movement creates distortion, proximity shatters the image
•    To think of the body as a body-in-code is to think of human existence as a prepersonal sensory being-with
3: “Natural three dimension” demotes a more immersive, data-rich visual simulation.  In contrast, for Krueger, ‘natural formation’ means information produced through an extension of our natural—that is, embodied, perceptuomotor—interface with the world.”
3: “The development of 3-D simulations puts us in touch with out most primative perceptual capacities: ‘the human interface is evolving toward more natural information.  3-D space is more, not less, intuitive then 2-D space…3-D space is what we evolved to understand.  It is more primitive, not more advanced 9than two-dimensional space].”
4: “First, the mixed reality paradigm radically reconfigures a trait that has characterized VR from its proto origin as the representationalist fantasy par excellence: namely, a desire for complete convergence with natural perception.  This trait serves to distinguish it from all discrete image media, including cinema, which as underscored by Gilles Deleuze’s correction of Bergson’s criticism of the ‘cinematic illusion,’ function by breaking with natural perception.”
4: “Atonion Damasio’s analogy for consciousness: if consciousness can be likened to a ‘movie-in-the-brain’ with no external spectator, then VR would comprise something like a move-outside-the-brain, again, importantly, with no external spectator.”
5:  “Rather than conceiving the virtual as a total technical simulacrum and as the opening of a fully immersive, self-contained fantasy world, the mixed reality paradigm treats it as simply one more realm among others that can be accessed through embodied perception or enaction (Varela).  In this way, emphasis falls less on the content of the virtual than on the means of access to it, less on what is perceived in the world than on how it comes to be perceived in the first place.”
8:  “Mixed reality specifies how ‘media determine our situation’ (following Kittler’s media-theoretical deepening of Foucault’s epistemo-transcendental historiography), it does so in a way that foregrounds, not, (as in Kittler) the autonomy of the technical, but precisely its opposite: the irreducible bodily or analog basis of experience which, we must add, has always been conditioned by a technical dimension and has always occurred as a cofunctioning of embodiment with technics.”
12:  “The social-technical-psychological condition of psychasthenia, meaning ‘a state in which the space defined by the coordinates of the organism’s body is confused with represented space’”
20:  “Such a technical mediation of the body schema (of the scope of body environment coupling) comprises what I propose to calls a body-in-code.  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 deterritorialization—a body whose embodiment is realized, and can only be realized in conjunction with technics.”


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