Kill the darling: burial for a footnote

After realizing I am already now way over with my word count for Media Archaeology and Digital Culture I am starting a frantic "cut and kill"-operation. Kill the darling-phase. Of course, it hurts, as you think every word and footnote is important (just the vanity of an author). In order to fool myself, I am hence burying one of the footnotes here, and saying goodbye to it. It is from Chapter 2, where I talk about new film history, multimodality and affect, and the footnote referred to haptic interface design:

As an example, see Sutherland (1965) for early speculation of haptic and embodied display design in computer graphic environments, but also mentioning displays based on smell and taste. Of course, what has to be noted is that even the notion of “touch” is itself complex and does not automatically translate as haptic, but is divided into more than one system of sensation. To quote from a haptic interface design perspective: “As described by Klatzky and Lederman [Klatzky and Lederman 2003], touch is one of the main avenues of sensation, and it can be divided into cutaneous, kinesthetic, and haptic systems, based on the underlying neural inputs..The cutaneous system employs receptors embedded in the skin, while the kinesthetic system employs receptors located in muscles, tendons, and joints. The haptic sensory system employs both cutaneous and kinesthetic receptors, but it differs in the sense that it is associated with an active procedure. Touch becomes active when the sensory inputs are combined with controlled body motion. For example, cutaneous touch becomes active when we explore a surface or grasp an object, while kinesthetic touch becomes active when we manipulate an object and touch other objects with it.” (Otaduy and Lin 2005: 1)