, Volume 44, Issue 1, pp 41–54 | Cite as

Writing–reading devices: intermediations

  • Ana Marques da SilvaEmail author
  • Sandra Bettencourt


Exploring the widening of literary practices, and demystifying boundaries in genres, sensory modalities, reading/writing processes and devices, this paper analyses two types of crossovers and intermediations: distributed authorship in the writing of digital generative literature, and the feedback loops between the screen and the book in contemporary experimental works. Nick Montfort and Marc Saporta’s works are analysed as enactive systems that emerge from the intersections between different modes of production and perception, highlighting the ways in which writing and reading strategies are reconfigured in contemporary experiences with literary forms and theoretical frameworks.


Digital literature Intermediation Device Authorship Screen and book 


  1. Aarseth, E. (1997). Cybertext: Perspectives on ergodic literature. Baltimore: Johns Hopkins University Press.Google Scholar
  2. Bakhtin, M. (1981). Epic and novel. In M. Holquist (Ed.), The dialogic imagination: Four essays (trans: C. Emerson & M. Holquist) (pp. 1–40). Texas: University of Texas Press.Google Scholar
  3. Bertelsen, O. W., & Pold, S. (2004). Criticism as an approach to interface aesthetics. In Proceedings of the third Nordic conference on human–computer interaction NordiCHI’04 (pp. 23–32). doi: 10.1145/1028014.1028018.
  4. Biggs, S. (2010). Authorship and agency in networked environments. Accessed 18 Mar 2017.
  5. Carpenter, J. R. (2010). Gorges. Accessed Sept 2015.
  6. Carpenter, J. R. (2010). Whisper wire. Accessed Sept 2015.
  7. Cramer, F. (2014). What is ‘post-digital’?. Accessed June 2014.
  8. Clark, M. D., Hergenrader, T., & Rein, J. (Eds.). (2015). Creative writing in the digital age: Theory, practice, and pedagogy. New York: Bloomsbury Academic.Google Scholar
  9. Emerson, L. (2014). Reading writing interfaces: From the digital to the bookbound. Minneapolis: University of Minnesota Press.CrossRefGoogle Scholar
  10. Eskelinen, M. (2012). Cybertext poetics: The critical landscape of new media literary theory. New York: Bloomsbury Academic.Google Scholar
  11. Flores, L. (2012). Transmogriffy. Accessed Sept 2015.
  12. Hayles, N. K. (2008). Electronic literature: New horizons for the literary. Notre Dame: University of Notre Dame Press.Google Scholar
  13. Hayles, N. K., & Burdick, A. (2002). Writing machines. Cambridge: The MIT Press.Google Scholar
  14. Howe, D. C. & Braxton, A. (2009). The aesthetics of generative literature, Hyperrhiz.06, Special Issue: Visionary landscapes. Accessed Sept 2015.
  15. Manovich, L. (2008). Database as symbolic form. In V. Vesna (Ed.), Database aesthetics: Art in the age of information overflow (pp. 39–60). Minneapolis: University of Minnesota Press.Google Scholar
  16. Montfort, N. (2003). The coding and execution of the author. Accessed 18 Mar 2017.
  17. Montfort, N. (2009a). Taroko Gorge. Accessed Sept 2015.
  18. Montfort, N. (2009b). Taroko Gorge. In ELMCIP. Accessed Sept 2015.
  19. Montfort, N. (2012). XS, S, M, L - Creative text generators of different scales, In Trope report technical report series. Trope Tank, MIT. Accessed Sept 2015.
  20. Montfort, N., et al. (2012). Taroko Gorge remixed: Repetition and difference in machine texts (abstract). In Electronic Literature Organization 2012 conference: Electrifying literature: Affordances and constraints, West Virginia University. Accessed Sept 2015.
  21. Moretti, F. (Ed.). (2006). The novel. History, geography, and culture (Vol. 1). Princeton: Princeton University Press.Google Scholar
  22. Plotkin, A. (2011). Argot Ogre, OK! Accessed September 2015.
  23. Portela, M. (2013). Scripting reading motions: The codex and the computer as self-reflexive machines. Cambridge: The MIT Press.Google Scholar
  24. Rettberg, S. (2012). A response to Nick Montfort’s ‘programming for fun, together’. Accessed Sept 2015.
  25. Saporta, M. (1961, 2014). Composition No. 1. In ELMCIP, 2014. Accessed Aug 2014.
  26. Saporta, M. (2011). Composition No. 1 by Marc Saporta. Accessed June 2014.
  27. Saporta, M. (2014). Composition No. 1, In Visual Editions. Accessed June 2014.
  28. Shoenbeck, R. (2013). Playing with chance: On random generation in playable media and electronic literature, Digital Humanities Quarterly, 7(3). Accessed Sept 2015.

Copyright information

© Akadémiai Kiadó, Budapest, Hungary 2017

Authors and Affiliations

  1. 1.Department of Languages, Literatures and Cultures, Faculty of ArtsUniversity of CoimbraCoimbraPortugal

Personalised recommendations