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Haptics, Attention, and Time: A Stud...

Sievers, Zachary M.,

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Haptics, Attention, and Time: A Study of Aesthetics in the Instant /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Haptics, Attention, and Time: A Study of Aesthetics in the Instant // Zachary M Sievers.
Author:	Sievers, Zachary M.,
Description:	1 electronic resource (374 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-07, Section: A.
Contained By:	Dissertations Abstracts International86-07A.
Subject:	Philosophy. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31240720
ISBN:	9798302851093

Haptics, Attention, and Time: A Study of Aesthetics in the Instant /
Sievers, Zachary M.,

Haptics, Attention, and Time: A Study of Aesthetics in the Instant /Zachary M Sievers. - 1 electronic resource (374 pages)

Source: Dissertations Abstracts International, Volume: 86-07, Section: A.

My dissertation establishes interdisciplinary senses of haptic creative attention to time experience, from the intuitive haptic design of touchscreens and social media platforms to the counterintuitive haptic design of cinematography aesthetics. Across this work, haptic aesthetic attention is paid to how the sense of touch plays a developmental role in creating, possessing, and manipulating dominant intuitive temporal aesthetics. Dominant aesthetic trends in contemporary digital image culture can be shown to automate, isolate, accelerate and desensitize the active sense of touch by subordinating haptic attention to instrumentalizing senses of vision. The haptic intuition of time names a preexisting sense of temporal agency technogenetically trained to objectively manipulate temporal images/objects. The haptic intuition of time instrumentally conditions time experience to live more and more seamlessly "in the now" of artificial rhythms, seeking instant confirmation of the success of actions and instant gratification in the form of experiencing direct (immediate, coincidental) contact with time as a manipulable visual object. In order to realize friction and develop counterintuitive, creative haptic attention to time, this dissertation explores haptic practices of making and viewing cinematography to resist confinement to the haptic intuition of time confined to the manufactured instant.Chapter 1 establishes an existential sense of haptic design with aesthetic attention to the use and design of mass contemporary touch technologies, questioning how haptic aesthetics can empower as well as injure attention capacities relating to self-awareness, movement, and time management. Dominant contemporary haptic attention economies are accelerating, intensifying, and anaesthetizing creative attention to time experience in the age of digital image-culture attention economies of instant gratification. Chapter 1 encounters the haptic intuition of time in the manufactured instant from a developmental technics perspective that questions the meaning of human-technological nature, in conjunction with the question of creating haptic attention to time experience. Chapter 2 takes developmental questions of attention capacity, intuitive time experience, learning, and memory processes through the embodied existential phenomenology of Maurice Merleau-Ponty in order to touch upon the role that "touch" plays, creatively and existentially, in the subject's relation to time, time experience, and memory. Haptic creative attention to time experience is explored through Merleau-Ponty's early work and its critique of objective-synthetic time experience (linear, serial clock time; Euclidian space). Intuition, institution, involuntary memory, and the indestructible past in Merleau-Ponty's later work are explored to develop a counterintuition to the haptic intuition of time - a nonlinear, nonEuclidian, topological-mereotopological temporal attention. Chapter 3, develops haptic creative attention to media technological apparatuses for making and viewing cinema, drawing prosthetic attention to the camera as an invention that creates and presents reality, to the screen as a prosthetic skin, and to the technics of mirrors and specular identification in contemporary digital life. Haptic cinematography is an attempt to create experimental aesthetic attention to time, which is at once a retraining of gestural and sensory life. Chapter 3 demonstrates haptic cinematography concepts practically in works of international cinema. The speculative conclusion closes by opening a handful of frictional gestures, amidst the question of developing haptic creative attention to time experience.

English

ISBN: 9798302851093Subjects--Topical Terms:

516511
Philosophy.
Subjects--Index Terms:

Attention economy

Haptics, Attention, and Time: A Study of Aesthetics in the Instant /
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520 $a My dissertation establishes interdisciplinary senses of haptic creative attention to time experience, from the intuitive haptic design of touchscreens and social media platforms to the counterintuitive haptic design of cinematography aesthetics. Across this work, haptic aesthetic attention is paid to how the sense of touch plays a developmental role in creating, possessing, and manipulating dominant intuitive temporal aesthetics. Dominant aesthetic trends in contemporary digital image culture can be shown to automate, isolate, accelerate and desensitize the active sense of touch by subordinating haptic attention to instrumentalizing senses of vision. The haptic intuition of time names a preexisting sense of temporal agency technogenetically trained to objectively manipulate temporal images/objects. The haptic intuition of time instrumentally conditions time experience to live more and more seamlessly "in the now" of artificial rhythms, seeking instant confirmation of the success of actions and instant gratification in the form of experiencing direct (immediate, coincidental) contact with time as a manipulable visual object. In order to realize friction and develop counterintuitive, creative haptic attention to time, this dissertation explores haptic practices of making and viewing cinematography to resist confinement to the haptic intuition of time confined to the manufactured instant.Chapter 1 establishes an existential sense of haptic design with aesthetic attention to the use and design of mass contemporary touch technologies, questioning how haptic aesthetics can empower as well as injure attention capacities relating to self-awareness, movement, and time management. Dominant contemporary haptic attention economies are accelerating, intensifying, and anaesthetizing creative attention to time experience in the age of digital image-culture attention economies of instant gratification. Chapter 1 encounters the haptic intuition of time in the manufactured instant from a developmental technics perspective that questions the meaning of human-technological nature, in conjunction with the question of creating haptic attention to time experience. Chapter 2 takes developmental questions of attention capacity, intuitive time experience, learning, and memory processes through the embodied existential phenomenology of Maurice Merleau-Ponty in order to touch upon the role that "touch" plays, creatively and existentially, in the subject's relation to time, time experience, and memory. Haptic creative attention to time experience is explored through Merleau-Ponty's early work and its critique of objective-synthetic time experience (linear, serial clock time; Euclidian space). Intuition, institution, involuntary memory, and the indestructible past in Merleau-Ponty's later work are explored to develop a counterintuition to the haptic intuition of time - a nonlinear, nonEuclidian, topological-mereotopological temporal attention. Chapter 3, develops haptic creative attention to media technological apparatuses for making and viewing cinema, drawing prosthetic attention to the camera as an invention that creates and presents reality, to the screen as a prosthetic skin, and to the technics of mirrors and specular identification in contemporary digital life. Haptic cinematography is an attempt to create experimental aesthetic attention to time, which is at once a retraining of gestural and sensory life. Chapter 3 demonstrates haptic cinematography concepts practically in works of international cinema. The speculative conclusion closes by opening a handful of frictional gestures, amidst the question of developing haptic creative attention to time experience.
546 $a English
590 $a School code: 0245
650 4 $a Philosophy. $3 516511
650 4 $a Aesthetics. $3 523036
650 4 $a Cinematography. $3 546522
653 $a Attention economy
653 $a Embodiment
653 $a Interdisciplinary haptics
653 $a Intuition
653 $a Phenomenology
653 $a Temporality
690 $a 0422
690 $a 0650
690 $a 0435
710 2 $a Villanova University. $b Philosophy. $e degree granting institution. $3 3827646
720 1 $a Carvalho, John $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 86-07A.
790 $a 0245
791 $a Ph.D.
792 $a 2024
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