{"title":"Inter-mediality in Digital Media Environment","authors":"Massimo Fusillo , Mirko Lino","doi":"10.1016/j.techum.2024.11.002","DOIUrl":null,"url":null,"abstract":"<div><div>As a medium literature has always been characterized by a strong virtual dimension: the capacity to evoke alternative worlds, an imaginary universe which may clash with the real one, or even deconstruct the opposition between real and fictional. Postmodern fiction has stressed and expanded the inter-medial aspect of literature, showing a true obsession with visual media and extra-literary codes. Sometimes it goes well beyond infinite, playful rewriting and becomes a true inter-medial phenomenon, a significant synergy between media and the arts, strongly linked to narrative strategies and symbolic values, as in the so-called maximalist novel. The digital revolution has already changed, and is still changing, the classical notions of author, text, public and intellectual property. Instead of defending the purity of a lost tradition, literature must now face the complex and multisensory logic of contemporary mediality, based on acceleration, simultaneity, and hyper-mediation. If literature is comparable to a medium, then, according to Derrida, the postmodern tendency to narrate the de-centration of the book might allow us to consider it as technology. Starting from this premise, the paper will endeavor to illustrate how the material supports of literature, i.e. the book and the printed page, are technological forms involved in a continuous process of computerization. We shall be analyzing <em>The GRAMMATRON</em> and <em>Remix the Book</em>, two projects by Mark Amerika, using examples showing how inter-mediality becomes a theoretical concept to express the complexity of aesthetical experiences in contemporary media contents.</div></div>","PeriodicalId":100956,"journal":{"name":"New Techno-Humanities","volume":"4 1","pages":"Pages 58-64"},"PeriodicalIF":0.0000,"publicationDate":"2024-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"New Techno-Humanities","FirstCategoryId":"1085","ListUrlMain":"https://www.sciencedirect.com/science/article/pii/S2664329424000219","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
As a medium literature has always been characterized by a strong virtual dimension: the capacity to evoke alternative worlds, an imaginary universe which may clash with the real one, or even deconstruct the opposition between real and fictional. Postmodern fiction has stressed and expanded the inter-medial aspect of literature, showing a true obsession with visual media and extra-literary codes. Sometimes it goes well beyond infinite, playful rewriting and becomes a true inter-medial phenomenon, a significant synergy between media and the arts, strongly linked to narrative strategies and symbolic values, as in the so-called maximalist novel. The digital revolution has already changed, and is still changing, the classical notions of author, text, public and intellectual property. Instead of defending the purity of a lost tradition, literature must now face the complex and multisensory logic of contemporary mediality, based on acceleration, simultaneity, and hyper-mediation. If literature is comparable to a medium, then, according to Derrida, the postmodern tendency to narrate the de-centration of the book might allow us to consider it as technology. Starting from this premise, the paper will endeavor to illustrate how the material supports of literature, i.e. the book and the printed page, are technological forms involved in a continuous process of computerization. We shall be analyzing The GRAMMATRON and Remix the Book, two projects by Mark Amerika, using examples showing how inter-mediality becomes a theoretical concept to express the complexity of aesthetical experiences in contemporary media contents.
作为一种媒介,文学一直具有很强的虚拟维度:能够唤起另一个世界,一个可能与现实世界发生冲突的想象世界,甚至解构现实与虚构之间的对立。后现代小说强调并扩展了文学的中间性,表现出对视觉媒介和文学之外的符码的真正痴迷。有时,它远远超出了无限的、好玩的重写,成为一种真正的中间现象,一种媒体与艺术之间的重要协同作用,与叙事策略和象征价值密切相关,就像所谓的极致主义小说一样。数字革命已经并仍在改变着作者、文本、公共和知识产权的经典概念。文学现在必须面对基于加速、同时性和超中介的当代媒介性的复杂和多感官逻辑,而不是捍卫失去的传统的纯洁性。如果把文学比作一种媒介,那么,根据德里达的说法,后现代倾向于叙述书的去中心化,可能会让我们把它看作一种技术。从这个前提出发,本文将努力说明文学的物质支持,即书籍和印刷页面,是如何参与持续的计算机化过程的技术形式。我们将分析Mark Amerika的《The GRAMMATRON》和《Remix The Book》这两个项目,通过实例展示中介性如何成为一个理论概念,以表达当代媒体内容中审美体验的复杂性。