Reading Digits – Haptic Reading Processes in the Experience of Digital Literary Works

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Abstract (in English): 

The intensification of tactile/haptic research by academia and the digital technology industry, has given rise to several instrumentalizations of the adjective haptic, often contradicting an entire philosophical haptological tradition, going back to Aristotle and allowing us to think of the haptic from a multisensory perspective capable of destabilizing the idea of pure sensory modalities. On the one hand, such intensification is evidenced by the ubiquity of digital technological devices that call for interaction through touch and gesture as tactile/haptic functions necessary for experiencing digital content. On the other hand, it may be seen in the increasing demand for tangibility between human and machine, particularly through sensory experiences made possible by virtual/augmented reality, as well as, mixed reality/virtuality platforms. Such intense literalization of the haptic also, paradoxically, ends up reinforcing the existence and primacy of a visual culture inherent to an ocularcentric society. It is in line with this haptological tradition, as well as through the recovery of a multisensory perspective explored by a series of avant-garde artistic practices that permeate the history of twentieth-century art, that I propose to (re)think digital literary works via means of an alternative and operative redefinition of haptic drawn from the metamedial and intermedial specificities of current digital poetic practices. Based on the mapping and analysis of carefully selected digital literary works, this research intends to understand how digital poetic practices make use of certain processes of haptic reading enabled by current digital technology, in order to explore and question the processes of writing and reading in media. In order to validate an argument largely based on the examination of ambiguities and tensions highlighted by the literary exploration of interface functionalities in arts and literature, this thesis will attempt to analyze the referred ambiguity, by showing a parallel between an inherent circularity of (multi)sensory perception and the way certain circular, or rather, spiral-like, trajectories, are able to be identified across multiple arts, artists and movements. All of this, of course, is put together via a process of dialectic subversion/disruption that characterizes multiple variants of experimentalism across the centuries. Moreover, doing so is a way of finding possible answers, or perhaps, raising new questions, regarding longstanding problematics pertaining to the relationship between tradition and innovation, from which the digital era is not exempt.

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Critical writing referenced:

Titlesort descending Author Year
Moving Text in Avant-garde Poetry: Towards a Poetics of Textual Motion Teemu Ikonen 2003
New Media Poetics: Contexts, Technotexts, and Theories 2006
New narrative pleasures? A cognitive-phenomenological study of the experience of reading digital narrative fictions Anne Mangen 2006
New Philosophy for New Media Mark B.N. Hansen 2006
Parables for the Virtual: Movement, Affect, Sensation Brian Massumi 2007
PO.EX: Essays from Portugal on Cyberliterature and Intermedia 2014
Poetic fingerprints: digital literature’s countercultural and metamedial integration of vision and touch Diogo Marques 2017
Quantum Poetics: Six Thoughts Stephanie Strickland 2006
Reading Moving Letters: Digital Literature in Research and Teaching 2010
Reading Writing Interfaces: From the Digital to the Bookbound Lori Emerson 2014
Scripting Reading Motions: The Codex and the Computer as Self-Reflexive Machines Manuel Portela 2013
Technics and Violence in Electronic Literature Davin Heckman 2011
Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness Roy Ascott 2003
The Endgame or a Wake?: Tropes of Circularity in Literature Then and Now Diogo Marques 2016
The Interface Effect Alexander R. Galloway 2012
The Machine in the Text, and the Text in the Machine Manuel Portela 2010
Through the Touching Glass: Literature for Haptic Inter[(surf)aces] Diogo Marques 2016
Time Code Language: New Media Poetics and Programmed Signification John Cayley 2009
Touch and Gesture as Aesthetic Experience: Performing 5 Apps Maria Engberg 2012
Towards an Art of Rhetoric in Electronic Literary Works: The Figures of Manipulation Serge Bouchardon 2008
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Diogo Marques