Search

The search found 2 results in 0.01 seconds.

Search results

1. The Materiality of the Intangible: Literary Metaphor in Multimodal Texts

   The materiality of fiction narratives is, ironically, a rather intangible concept, particularly as the notion of materiality traditionally relates to specifically tangible tools of creation — such as the painter’s brush or the sculptor’s clay. The materiality of digital artifacts lies only superficially in the haptic hardware of screens, keyboards, and mice; the materiality of modes, navigation, and interaction must also be explored for their effects on metaphor and meaning. Bouchardon & Heckman identify three levels of materiality in digital literary works: the figure of a semiotic form, the grasp required to physically interact with the work, and the memory of the work — its whole compiled from the parts of code, hardware, and user/reader experience that form meaning (2012, n.p.). In presenting her theory of the technotext, however, Katherine Hayles argues that it is the conjunction of the physical embodiment of technotexts (whether semi-tangible in digital form, or as fully physical as a book) with their embedded verbal signifiers that constructs both plurimodal meaning and an implicit construct of the user/reader (2002, 130-1).

   Jill Walker Rettberg - 25.09.2013 - 12:41

2. Approaching the Real: Materiality in Digital Literature

   Digital literature foregrounds its own medium, and it foregrounds the graphic, material aspects of language. Experiments with the new medium and with the form of language are generally presented and interpreted within a framework of the historical avant-garde or the neo-avantgarde. This paper aims to take a new perspective on the emerging digital materiality of language.
   The analysis of the work of work that use digitalized handwriting or graffiti-like drawing (for example in Jason Nelson, the digital artist of hybrid works between games, literature and video) leads to the conclusion that the effect of this materiality is an ambivalent relation to affect, reality and the body.
   In other words: an ‘absent presence’ is foregrounded. The paradoxical and spectral merging of presence and absence makes these forms of digital literature an expression of a specifically late postmodernist stance towards representation of the ‘real’. Complicity with the media-culture goes hand in hand with an ironic approach of the mediatedness of the world and the body.

   Jill Walker Rettberg - 25.09.2013 - 13:07