Sign Here!: Handwriting in the Age of New Media (Transformations in Art and Culture)

Sign Here!: Handwriting in the Age of New Media (Transformations in Art and Culture)

Sonja Neef

Language: English

Pages: 288

ISBN: 9053568166

Format: PDF / Kindle (mobi) / ePub


Will handwriting survive the evolution of digital media? Sign Here explores the changing role of manual writing in a world of e-mail, text messaging, and other digital technology. In a series of fascinating essays, media scholars examine the changing concepts of originality, authenticity, and uniqueness—both culturally and legally—as digital media continue to rapidly expand.

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result of an unconscious, blind process of drawing: Whether it be improvised or not, the invention of the trait does not follow, it does not conform to what is presently visible, to what would be set in front of me as a theme. Even if drawing is, as they say, mimetic, that is, reproductive, figurative, representative, even if the model is presently facing the artist, the trait must proceed in the night. It escapes the field of vision. Not only because it is not yet visible, but because it does not

identity, is guaranteed by means of the replicability (or iterability) of digital mediation. Like one’s signature in an earlier regime, one’s digital image is able to persist independently of the self to authorize one’s action, expression, or communication. But because, unlike a handwritten signature, digital imagery is so easily reproducible and changeable, it poses a threat that corporate interests like those represented by the mpaa and riaa are determined to resist. These competing notions of

image, with its two dimensions, which make it in one sense ‘flat’, holds a truth of a quite different depth. It is worth exploring the consequences of such a paradoxical vision of A la recherche du temps perdu. Such a reading is based upon the hypothesis that the references to visual images, the frequency and the importance of which for this text have been pointed out many a time, suggest a significance of particularly rich, even fundamental value for the poetics of this work, without, of course,

containing secret documents of der Führer, among which were his personal notebooks. Almost forty years later, Gerd Heidemann, a Stern reporter, claimed that these diaries had shown up again. He explained that he had received the notebooks from an intermediary who had smuggled them into the country from East Germany by intervention of the Institut für Staatssicherheit (East German Secret Service) and some dubious generals in the Nationale Volksarmee (East German Army) (Heidemann in Stern, April

about this film that one could see in movie theaters – the teaser – had already introduced a form of violence that is specific to the beam of light: Coming Soon! bang! The shiny spot, which looked safe while sitting in the background, is now suddenly animated and projected into the foreground like a projectile, only to present the encapsulated letters of the titles of the film. The underlying gunshots reinforce one’s sudden subjection to the moving image. This metaphor is more about a technical than

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