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Acknowledgements
This article is dedicated to the memory of Sonja Neef, who died on April 6, 2013 at the age of 45. Her wonderful work on (hand-)writing and technology has had a profound effect on my research.
Notes
1 Donna Haraway, How Like a Leaf. An Interview with Thyrza Nichols Goodeve (London and New York: Routledge, 2000), p.85.
2 Iris van der Tuin, ‘A Different Starting Point, a Different Metaphysics: Reading Bergson and Barad Diffractively’, Hypatia, 26:1 (2011), p.26.
3 Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Meaning and Matter (Durham and London: Duke University Press, 2007), p.30.
4 Julia Kristéva, ‘Le mot, le dialogue et le roman’, Semiotike: Recherches pour une semanalyse (Paris: Seuil, 1969), pp.82–112.
5 Henk Oosterling, ‘Sens(a)ble Intermediality and Interesse. Towards an Ontology of the In-Between’, Intermédialités, 1 (2003), pp.29–46.
6 Henk Oosterling, ‘Sens(a)ble Intermediality and Interesse’, p.45.
7 Gilles Deleuze and Félix Guattari, Mille Plateaux (Paris: Minuit, 1980).
8 Kiene Brillenburg Wurth, ‘Multimediality, Intermediality, and. Medially Complex Digital Poetry’, RiLUnE, 5 (2006), pp.1–18.
9 Karen Barad, Meeting the Universe Halfway, for instance p.170, p.393.
10 Nick Thurston, Reading the Remove of Literature, ed. and intr. Craig Dworkin (York: Information as Material, 2006).
11 Marshall McLuhan, The Gutenberg Galaxy: The Making of Typographic Man (Toronto: University of Toronto Press, 1962).
12 Vilém Flusser, Does Writing Have a Future?, trans. Nancy Ann Roth, intr. Mark Poster (Minneapolis: University of Minnesota Press, 2011), p.14.
13 Vilém Flusser, Does Writing Have a Future?, p.14.
14 Vilém Flusser, Does Writing Have a Future?, p.14.
15 Vilém Flusser, Does Writing Have a Future?, p.15.
16 Vilém Flusser, Does Writing Have a Future?, p.15.
17 Vilém Flusser, Does Writing Have a Future?, p.8.
18 Jacques Derrida, Of Grammatology, trans. Gayatri Chakravorty Spivak (Baltimore: Johns Hopkins University Press, 1976), p.85.
19 Jacques Derrida, Of Grammatology, pp.86–87.
20 This work is archived at the National Library of Quebec at Montreal.
21 See also Louise Paillé, Livre-livre. La démarche de création (Trois Rivières: Éditions D'Art Le Sabord, 2005), pp.56–57.
22 See The Future of the Page, eds Peter Stoicheff and Andrew Taylor (Toronto: University of Toronto Press, 2004).
23 Karen Barad, ‘On Touching – The Human that Therefore I Am’, Differences: A Journal of Feminist Studies, 23:3 (2007), p.207.
24 Sonja Neef, Imprint and Trace: Handwriting in the Age of Technology, trans. Anthony Matthews (London: Reaktion Books, 2011), p.239.
25 Sonja Neef, Imprint and Trace, p.239.
26 Sonja Neef, Imprint and Trace, p.205.
27 ‘Forgery’ in The Free Online Law Dictionary, < http://legal-dictionary.thefreedictionary.com/forgery> [02/02/2014].
28 Sonja Neef, Imprint and Trace, p.263.
29 Sonja Neef, Imprint and Trace, p.263. This impossibility of self-touching nicely compares to Barad's idea of an irreducible alterity within matter: ‘The infinite touch of nothingness is threaded through all being/becoming, a tangible indeterminacy that goes to the heart of matter. Matter is not only iteratively reconstituted through its various intra-actions, it is also infinitely and infinitesimally shot through with alterity’. (Karen Barad, ‘On Touching – The Human that Therefore I Am’, p.215).
30 Vilém Flusser, Does Writing Have a Future?, p.17. See also Kiene Brillenburg Wurth, Sara Rosa Espi and Inge van de Ven, ‘Visual Text and Media Divergence: Analog Literary Writing in a Digital Age’, European Journal of English studies, 17 (2013), p.100.
31 Vilém Flusser, Does Writing Have a Future?, p.17.
32 Vilém Flusser, Does Writing Have a Future?, p.17.
33 Vilém Flusser, Does Writing Have a Future?, p.18.
34 Elsewhere, I have analyzed this visual turn of writing in the work of Paillé in terms of Jean-François Lyotard's notion of the figural. See ‘Visual Text and Media Divergence’, p.102.
35 Louise Paillé, Livre-livre, p.102.
36 Johanna Drucker, ‘Graphical Readings and the Visual Aesthetics of Textuality’, Text, 16 (2006), pp.267–276, p.270. There is, of course, an entire (modernist) history of the page as a relational field (think of Dadaism or futurism), but I do not have the space or time to elaborate on this prehistory here.
37 See < http://x5r5jrt1k2f335t596t7w87fs6t5u4d3e2n1t.unbsj.ca/∼s6vai/Mail/letters.html> [02/02/2014]; < http://writingtodistraction.blogspot.nl/2010/10/cross-writing.html> [02/02/2014].
38 Vincent de Luca, ‘A Wall of Words: The Sublime as Text’, in Unnam'd Forms: Blake and Textuality, eds Nelson Hilton and Thomas Vogler (Berkeley: University of California Press, 1986), p.219. See also his Words of Eternity: William Blake and the Poetics of the Sublime (Princeton: Princeton University Press, 1991).
39 Craig Dworkin, Reading the Illegible (Evanston, Illinois: Northwestern University Press, 2003), p.79. See also Craig Dworkin, No Medium (Cambridge, MA: The MIT Press, 2013).
40 Craig Dworkin, Reading the Illegible, p.79.
41 Craig Dworkin, Reading the Illegible, p.79.
42 Jean-Luc Nancy, ‘Exscription’, in The Birth to Presence, trans. Brian Holmes and others (Stanford: Stanford University Press, 1993), pp.319–340.
43 Jean-Luc Nancy, ‘Corpus’, in Corpus, trans. Richard A. Rand (New York: Fordham University Press, 2008), pp.2–121.
44 Craig Dworkin, Reading the Illegible, p.54.
45 Louise Paillé, Livre-livre, p.48.
46 Marguerite Yourcenar, L'œuvre au noir (Paris: Gallimard, 1968), translated as The Abyss [1976], by Grace Frick in collaboration with the author (New York: Farrar, Strauss and Giroux, 1997), p.169. All quotes in this article are from the English translation.
47 Marguerite Yourcenar, The Abyss, p.169.
48 Marguerite Yourcenar, The Abyss, pp.186–187.
49 Karen Barad, Meeting the Universe Halfway, p.ix.
50 Marguerite Yourcenar, The Abyss, p.188. The Engish translation here contains a mistake: it reports the date ‘1941’, while the original French version has ‘1491’ (p.193).
51 For an illustration, see: < http://www.quaritch.com/book/2959/ketham-johannes-de-johannes-von-kirchheim-fasciculus-medicinae> [02/02/2014].
52 Louise Paillé, Livre-livre, p.62.
53 Sonja Neef, Imprint and Trace, p.262.
54 Louise Paillé, Livre-livre, p.66.
55 Marguerite Yourcenar, The Abyss, p.352.
56 Jean-Luc Nancy, ‘Corpus’, p.11.
57 Jean-Luc Nancy, ‘Corpus’, p.11.
58 Karen Barad, ‘Quantum Entanglements and Hauntological Relations of Inheritance: Dis/continuities, SpaceTime Enfoldings, and Justice-to-Come’, Derrida Today, 3:2 (2010), pp.240–268, esp. p.265.
59 Maurizio Ferraris, Documentality. Why It Is Necessary to Leave Traces, trans. Richard Davies (New York: Fordham University Press, 2013), p.183. Ferraris holds that we are living in an age marked by the explosion of registration rather than communication.
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Kiene Brillenburg Wurth
Kiene Brillenburg Wurth is associate professor of Literature and Comparative Media at the University of Utrecht and project leader of the VIDI-project Back to the Book (2011–2016) funded by the Dutch Research Council. Kiene is the author of Musically Sublime. Infinity, Indeterminacy, Irresolvability (Fordham University Press, 2009), and (with Ann Rigney) of the textbook Het leven van teksten. Een Inleiding in de literatuurwetenschap (Amsterdam University Press, 2006, 2008) used throughout the Netherlands. She is editor of Between Page and Screen: Remaking Literature Through Cinema and Cyberspace (Fordham and Oxford University Press, 2012) and, with Sander van Maas, of Liminal Auralities (under contract with Fordham and Oxford University Press). She has published widely in peer reviewed journals and volumes on music, literature, aesthetics, and new media. Email: [email protected]