From Text to Interface (the Space)

“Both Burke and [Paul] Miller speak to the kinds of ‘alchemic opportunit[ies]’ made possible through new media, opportunities that require us to think in terms of interfaces, the central, medial moltenness, rather than the textual objects that we throw forth” (Brooke 25).

Wolfli Image

General view of the island Neveranger, 1911 (Wikimedia)

Aura Brut and Spatial Considerations

“High-quality paper, particular pens, ink, and nibs, and furthermore, specific spatial preconditions were important prerequisites for a non-resistant and smoothly running flow of writing” (Marx, et al. 49).

“Benjamin is an aesthetician of the written sheet; the manuscript should appeal to the eye as a textual images” (Marx, et al. 51)

Wolfli’s “multidimensional art might be seen as a not so distant forbearer the new media art making of the internet age” (Spoerri, et al. 48).

Composition and Interface

“A turn toward the interface as our unit of analysis would be an acknowledgement that it is not necessary that these processes culminate in products (which can then be decoupled from the contexts of their production), but rather that what we think of as products (books, articles, essays) are but interface” (Brooke 25).

“Mobile and location-aware technologies offer a range of rhetorical situations around which we can conceptualize and create writing assignments. These assignments can invite students to construct place-based, public discourse; to foster rhetorical and critical inquiry; to write as a social act; and to view writing as a means to participate in new media literacies. . . . The metaphors of graffiti and public art may help compositionists build location-aware technologies” (Brown 241).

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