These strands can help us better recognize how "materiality comes into existence . . . when attention fuses with physicality. . . ." (Hayles) Katherine Hayles says, this materiality is linked with attention. Examining an artifact like Truing--picking out the shapes and movements within its frame--highlights a kind of formal materiality that links attention with the representations and structures of the screen (91). Turning the camera on the keyboard as the video gets performed, however, brings to light the embodied processes of hand or heart driving the composing. Hayles cites tactile engagements with materials like clay, but the camera captures similar registers of feeling in bodies even as they work within the flattened space of the screen. This engagment becomes both physical and formal, dissolving boundaries in what Hayles (following Pickering) calls a "fluid dance."
[Expand on cinema and embodiment]
[Expand on rhetoric and embodiment]