{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","uuid":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","normalized_title":"bodiesincodeinterfaceswithdigitalmedia","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":348,"navigation_url":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title_url":"https://workshop.closeclaw.top/ai/title/Bodies%20in%20code%20%20interfaces%20with%20digital%20media","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","page_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page","search_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/search"},"page":{"printed_page":80,"pdf_page":93,"physical_index":93,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e44f2ec2c3987bf3354a09c14326f2272d941690af83b70b00e48aaf36a5b346"},"chapter":"bodies in code","content":"As the compression of its title announces, Agnes Hegedüs's Handsight (1992) proffers a performative allegory of this transductive coupling of vision and touch. Handsight comprises three separate elements: a hand-held “eyeball\" interface that tracks hand position; a transparent sphere with an iris-shaped opening for the hand; and a round projection screen, initially displaying an image of an eye, that opens into a virtual world. Functioning as a single, integrated visual system, Handsight requires the viewer to initiate and control the operation of vision through the hand; only by manipulating the eyeball interface within the transparent sphere is the viewer able to access the virtual world projected in the eye-shaped screen on the wall in front of him or her (see Figure 1.7).\n\nBy routing the function of vision through the instrumentality of manual manipulation, Hegedüs compels the viewer-user of her work to see with the hand, thus foregrounding—in a particularly enactive way—the presence of tactility in vision. And by coupling this form of tactile vision with the virtual, Hegedüs displaces the focus from the differences and similarities between the physical and the virtual worlds, revealing instead how the virtual comprises an extension of the essential technicity of embodied life. If the work carries out \"the reembodiment of the senses,\" as Hegedüs contends, the reason has everything to do with the transductive coupling of vision and touch.22 Handsight is able directly to map virtual vision on tactility precisely because it channels vision through an interface—the tactilely manipulable eyeball—that correlates to a visual point of view within the virtual world it views. \"Hand motions,\" explains Hegedüs, \"are translated instantly (i.e., in ‘real time') into a moving-point-of-view like an ‘endoscopic eye (endo—within, e.g., capable of penetrating an interior space) exploring a virtual world.\"23 The sphere (and the work as such) ultimately provides the viewer “an endo-spatial enclosure whose manual exploration maps directly into the representation of the virtual domain\" (Hegedüs, “Handsight”).\n\nBODIES IN CODE\n\n80","previous_page":79,"next_page":81}