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  1. Seeing through the Blue Nowhere: On Narrative Transparency and New Media

    A wide-ranging literary essay, what Joyce dubs a "theoretical narrative," surveying the desire for media "transparency," an ideal that retains its allure even after philosophers and theorists have revealed its illusoriness.

    Eric Dean Rasmussen - 08.04.2012 - 09:22

  2. Reading Writing Interfaces: From the Digital to the Bookbound

    In Reading Writing Interfaces, Lori Emerson examines how interfaces—from today’s multitouch devices to yesterday’s desktops, from typewriters to Emily Dickinson’s self-bound fascicle volumes—mediate between writer and text as well as between writer and reader. Following the threads of experimental writing from the present into the past, she shows how writers have long tested and transgressed technological boundaries.

    Table of Contents:

    Introduction

    Chapter 1: Indistinguishable From Magic | Invisible Interfaces and Digital Literature as Demystifier

    Chapter 2: From the Philosophy of the Open to the Ideology of the User-Friendly

    Chapter 3: Typewriter Concrete Poetry and Activist Media Poetics

    Chapter 4: The Fascicle as Process and Product

    Chapter 5: Postscript | The Googlization of Literature

    Works Cited

    Jill Walker Rettberg - 09.05.2014 - 02:11

  3. From the Digital to the Bookbound

    Dear Reader: How are you reading these words? On which device? Through which interface? Can you read the source code of this web ‘page’? Can you re-write it? Why does it matter? We have machines for that, we have apps! In Reading Writing Interfaces: From the Digital to the Bookbound Lori Emerson sets out to demystify the wondrous devices of our digital age by interrogating both the limits and the creative possibilities of a wide range of reading and writing interfaces. For Emerson, interface is an open-ended term – a threshold, a point of interaction between human and hardware, between hardware and software, between reader and writer, and between human-authored writing and the vast corpus of machine-based text relentlessly reading and writing itself behind the surface of the screen.

    J. R. Carpenter - 09.08.2014 - 16:06

  4. Through the Touching Glass: Literature for Haptic Inter[(surf)aces]

    Leaps and take-offs

    The blue sky above us is the optical layer of the atmosphere, the great lens of the terrestrial globe, its brilliant retina.
    From ultra-marine, beyond the sea, to ultra-sky, the horizon divides opacity from transparency. It is just one small step from earth-matter to space-light – a leap or a take-off able to free us for a moment from gravity.

    Paul Virilio, Open Sky

    Diogo Marques - 26.07.2017 - 13:58

  5. Grasp All, Lose All: Loss of Grasp and Non-Functional Digital Interfaces in Electronic Literature

    “And one should understand tact, not in the common sense of the tactile, but in the sense of knowing how to touch without touching, without touching too much, where touching is already too much.” Jacques Derrida

    A “hasty conclusion”, perhaps, as stated by Derrida, yet, one that was (and still is) able to cause an intense discussion among philosophers. In his questioning of touch, Derrida draws on Jean Luc Nancy’s philosophy of touch, particularly on the latter’s paradox of intangible tangibility, as a way to explore a slightly different meaning of the verb haptein (to be able to touch, to grab, to attach, to fasten), but also meaning “to hold back, to stop” (Nancy [2003]: 2008, 15).

    Diogo Marques - 26.07.2017 - 15:56

  6. Poetic fingerprints: digital literature’s countercultural and metamedial integration of vision and touch

    This paper reflects on the transformations of reading and writing literature promoted by digital environments by presenting some examples created by Serge Bouchardon between 2010 and 2016: Hyper-tensions. Exploring antinomies such as functionality and controllability versus a loss of grasp, desire for transparency versus a need for opacity, willingness to leave and disseminate traces versus discomfort in the permanent exposure of disseminated traces, the three artworks deal with the integration of sense modalities like vision and touch. This is a core question at a special moment in Occidental history characterized by the fact of it being less and less dominated by writing, taking us to a new illiteracy triggered by the rising of an elite that expresses itself by means of programming of cybernetic data banks and computational facilities. Also, exploring the visual and gestural metaphors in Bouchardon’s works as a synonym for transparency, imperceptibility, and inoperability, I argue that this countercultural strategy is his way of subverting the increasing interest in tangibility and immediacy by digital media industries.

    Diogo Marques - 26.07.2017 - 17:08