“a void rubbing out its own inscription”: Electronic Technology, Hypertext and the Paradox of Self-Erasure

The advent of electronic technologies like the computer and the internet necessitated new ways of writing and thinking about writing. Where the age of mechanical and industrial technologies led to Blake’s visionary engravings and Swift imagining a random text generator in Gulliver's Travels, “f...

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Autor principal:	Luke Korzun Martin
Formato:	article
Lenguaje:	EN
Publicado:	University of Edinburgh 2009
Materias:	Fine Arts N Language and Literature P
Acceso en línea:	https://doaj.org/article/89068d909a664e73ab6e6568df891598
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spelling	oai:doaj.org-article:89068d909a664e73ab6e6568df8915982021-11-23T09:46:00Z“a void rubbing out its own inscription”: Electronic Technology, Hypertext and the Paradox of Self-Erasure1749-9771https://doaj.org/article/89068d909a664e73ab6e6568df8915982009-06-01T00:00:00Zhttp://www.forumjournal.org/article/view/619https://doaj.org/toc/1749-9771The advent of electronic technologies like the computer and the internet necessitated new ways of writing and thinking about writing. Where the age of mechanical and industrial technologies led to Blake’s visionary engravings and Swift imagining a random text generator in Gulliver's Travels, “for improving speculative Knowledge by practical and mechanical Operations” (171), the electronic age might be said to have given rise to the work of composers like John Cage and Brian Eno, hypertextual writers such as Michael Joyce and Mark Amerika and the work of the Oulipo. Perhaps the predominant linguistic theory associated with, though not limited to, electronic technologies is that of “hypertext”. Hypertext is defined by Ted Nelson, who coined the term, as “non-sequential writing with reader-controlled links” (qtd. in Bolter 105), and George Landow as a technology that matches Barthes's ideal textuality of a “text composed of blocks of words (or images) linked electronically by multiple paths, chains, or trails in an open-ended, perpetually unfinished textuality described by the terms link, node, network, web, and path” (Landow 2). Nelson and Landow’s succinct definitions are both accurate, but fail to encompass the extent to which the hypertextual model destabilizes conventional notions of the text. This essay will examine the ways in which hypertexts erase themselves, and the implications this paradox of self-erasure has for the whole field of signification, the material status of the text and hypertextual conceptions of identity.Luke Korzun MartinUniversity of EdinburgharticleFine ArtsNLanguage and LiteraturePENForum, Iss 08 (2009)
institution	DOAJ
collection	DOAJ
language	EN
topic	Fine Arts N Language and Literature P
spellingShingle	Fine Arts N Language and Literature P Luke Korzun Martin “a void rubbing out its own inscription”: Electronic Technology, Hypertext and the Paradox of Self-Erasure
description	The advent of electronic technologies like the computer and the internet necessitated new ways of writing and thinking about writing. Where the age of mechanical and industrial technologies led to Blake’s visionary engravings and Swift imagining a random text generator in Gulliver's Travels, “for improving speculative Knowledge by practical and mechanical Operations” (171), the electronic age might be said to have given rise to the work of composers like John Cage and Brian Eno, hypertextual writers such as Michael Joyce and Mark Amerika and the work of the Oulipo. Perhaps the predominant linguistic theory associated with, though not limited to, electronic technologies is that of “hypertext”. Hypertext is defined by Ted Nelson, who coined the term, as “non-sequential writing with reader-controlled links” (qtd. in Bolter 105), and George Landow as a technology that matches Barthes's ideal textuality of a “text composed of blocks of words (or images) linked electronically by multiple paths, chains, or trails in an open-ended, perpetually unfinished textuality described by the terms link, node, network, web, and path” (Landow 2). Nelson and Landow’s succinct definitions are both accurate, but fail to encompass the extent to which the hypertextual model destabilizes conventional notions of the text. This essay will examine the ways in which hypertexts erase themselves, and the implications this paradox of self-erasure has for the whole field of signification, the material status of the text and hypertextual conceptions of identity.
format	article
author	Luke Korzun Martin
author_facet	Luke Korzun Martin
author_sort	Luke Korzun Martin
title	“a void rubbing out its own inscription”: Electronic Technology, Hypertext and the Paradox of Self-Erasure
title_short	“a void rubbing out its own inscription”: Electronic Technology, Hypertext and the Paradox of Self-Erasure
title_full	“a void rubbing out its own inscription”: Electronic Technology, Hypertext and the Paradox of Self-Erasure
title_fullStr	“a void rubbing out its own inscription”: Electronic Technology, Hypertext and the Paradox of Self-Erasure
title_full_unstemmed	“a void rubbing out its own inscription”: Electronic Technology, Hypertext and the Paradox of Self-Erasure
title_sort	“a void rubbing out its own inscription”: electronic technology, hypertext and the paradox of self-erasure
publisher	University of Edinburgh
publishDate	2009
url	https://doaj.org/article/89068d909a664e73ab6e6568df891598
work_keys_str_mv	AT lukekorzunmartin avoidrubbingoutitsowninscriptionelectronictechnologyhypertextandtheparadoxofselferasure
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“a void rubbing out its own inscription”: Electronic Technology, Hypertext and the Paradox of Self-Erasure

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