In a philosophic/geometric sense: An apparent change in the direction of an object, caused by a change in observational position that provides a new line of sight. The apparent displacement, or difference of position, of an object, as seen from two different stations, or points of view. In contemporary writing parallax can also be the same story, or a similar story from approximately the same time line, from one book told from a different perspective in another book. The word and concept feature prominently in James Joyce's 1922 novel, Ulysses. Orson Scott Card also used the term when referring to Ender's Shadow as compared to Ender's Game. The artist Sarah Morris named her studio Parallax, in reference to her parallel production of paintings and films.
The metaphor is invoked by Slovenian philosopher Slavoj Žižek in his work The Parallax View. Žižek borrowed the concept of "parallax view" from the Japanese philosopher and literary critic Kojin Karatani. "The philosophical twist to be added (to parallax), of course, is that the observed distance is not simply subjective, since the same object that exists 'out there' is seen from two different stances, or points of view. It is rather that, as Hegel would have put it, subject and object are inherently mediated so that an 'epistemological' shift in the subject's point of view always reflects an ontological shift in the object itself. Or—to put it in Lacanese—the subject's gaze is always-already inscribed into the perceived object itself, in the guise of its 'blind spot,' that which is 'in the object more than object itself', the point from which the object itself returns the gaze. Sure the picture is in my eye, but I am also in the picture."Via Wikipedia's Parallax entry.
