Chapter Abstract: Photography made, spread and viewed through a digital interface is conditioned by protocols that determine its possibilities and limitations. Yet, the inconsistencies of photography keep these conditions under negotiation. This inconsistency is brought out through glitches: a phenomenon defined as error, flaw, malfunction, or here: systemic friction. As glitches are generated, harnessed and aesthetically articulated, they crack open a space for individuals to work with and around systemic frames. This article explores haptic disruption as a form of negotiation that sharpens attention towards photography experienced through a screen. The site of this sharpening is a website: Dutch artist Rosa Menkman’s Sunshine in my throat. Here, a pervasive digital architecture is precariously co-present with an intimate viewing experience. Contingency exploited in the digital material thus becomes embodied in photographic as well as human materials. Connected to an ungraspable network while alone in the aesthetic encounter, the viewer navigates minimal yet strikingly sensorial circumstances that yield intentional as well as random haptic disruption. Menkman’s work merges viewer, photographic instance and shared interface – and rubs them against each other in a way that generates a certain kind of time: moving across the site, gazing at images still and stilled, interfacing with machinic and human. In this process, the individual is incited to test a tactical position towards the system.