Ariane Jaccarini's interdisciplinary practice investigates digital, architectural form as ossification: that is, bone tissue formation as the computer-generated home. With the aid of literature and written language, Jaccarini uses computer-generated imagery to model rooms of houses that function as proxy for the corporal. Her work readily dissolves the cognitive boundaries between the observer and the observed, providing windows (via LCD screens) into oneiric cyber interiors. Bodily constituents are dismantled and crated into digitalised and disembodied spaces.

In CGI, the experience of immediacy is attained not through a bodily encounter with an obdurate world but with a different kind of mutuality modelled on the transfer of information. It is not that the body is no longer important, but taken for granted as a unified site for experience(1). The heightened powers of 'special effects' are to elicit bodily thrills. CGI elicits bodily effects linked to the sense of presence in a fantastical world.

1. Ariel Rogers, "'You Don't So Much Watch It As Download It': Conceptualizations of Digital Spectatorship," Film History 24, no. 2 (2012): 230. https://doi:10.2979/filmhistory.24.2.221.