paste z: http://burundi.sk/dusan/carrythatweight/images/5/51/Pzi.esej.research.txt
(from /not)
Cyberspace is what Deleuze
and Guattari call a “haptic” space, as opposed to an optical
one: a space of “pure connection,” accessible only to “closerange
vision,” and having to be navigated “step by step. . . .
One never sees from a distance in a space of this kind, nor
does one see it from a distance”.
No panoramic
view is possible, for the space is always folding, dividing,
expanding, and contracting. [nema zmysel robit vizualne komplexne webstranky – len tolko co clovek
vie cele prijat, v pozadi socialna navigacia, takze ‘listujem’ dalej
Time is flexible on the Net as
well; things happen at different speeds. Sometimes I must
read and type extremely fast to keep up with rapid-fire chat
room conversations. Other times I have to hold myself back
as I wait for pages or files to download.
What’s more, these
multiple speeds, times, and spaces overlap. Enveloped in
the network, I am continually being distracted.
I can no
longer concentrate on just one thing at a time. My body is
pulled in several directions at once, dancing to many distinct
rhythms. My attention fragments and multiplies as I
shift among the many windows on my screen. Being online
always means multitasking.
haptic space
=
a haptic vision of color, as opposed to the optical vision of light. What Deleuze calls haptic vision is precisely this “sense” of colors. The tactile-optical space of representation presents a complex eye-hand relation: an ideal optical space that nonetheless maintains virtual referents to tactility (depth, contour, relief). From this, two types of subordination can occur: a subordination of the hand to the eye in optical space (Byzantine art), and a strict subordination of the eye to the hand in a manual space (Gothic art). But what Deleuze, following Riegl, terms haptic space (from the Greek verb aptõ, to touch) is a space in which there is no longer a hand-eye subordination in either direction. It implies a type of seeing distinct from the optical, a close-up viewing in which “the sense of sight behaves just like the sense of touch.”
http://www.upress.umn.edu/excerpts/Deleuze.html
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art historian Alois Riegl (1927) on early Roman art particularly textiles. Riegl’s work has been taken up by critical theorists to explore the specificity of cinema and digital media. In Thousand Plateaus Deleuze and Guattari appropriate Riegl’s term to describe a notion of space that is contingent, close up, and short term lacking a fixed point of reference. Haptic space for Deleuze and Guattari, may be visual, tactile and auditory
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It is not about the all-encompassing (optical) view, but the micro-level (haptic) variation, which suggests orientation and negotiation that is articulated step by step, at a local level (Rebelo).
http://spacecollective.org/Wildcat/6065/Gilles-Deleuze-Francis-Bacon-the-Logic-of-Sensation-pt-2
thacker’s shaviro’s connected review
“Reach out and touch someone? It’s the worst thing that could happen to you”.
Connected is arranged as a series of short segments, each with a title, and each running between one to three pages. There is no one theoretical or narrative thread in Connected, but many. Methodologically, Shaviro uses science fiction as a way of gaining a novel, critical understanding of our current network society.
For Shaviro, science fiction is the only social theory capable of comprehending the many reversals that new media offer.
In his discussion of Bruce Sterling’s novel, Distraction, Shaviro notes the fine line between attentive multitasking
and the McLuhanesque “cool media” of total media distraction. In a way, Connected is Shaviro’s attempt to explore
this boundary. We might even call it the “critical theory of distraction.”
http://www.leonardo.info/reviews/apr2004/connect_thacker.html