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Journal articles on the topic 'Digital materiality'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 May 2025

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1

Hui, Yuk. "Towards A Relational Materialism." Digital Culture & Society 1, no. 1 (2015): 131–48. http://dx.doi.org/10.14361/dcs-2015-0109.

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AbstractThis article takes off from what Lyotard calls ‘the immaterial’, demonstrated in the exhibition Les Immatériaux that he curated at the Centre Pompidou in 1985. It aims at outlining a concept of ‘relational materiality’. According to Lyotard, ‘the immaterial’ is not contrary to material: instead, it is a new industrial material brought about by telecommunication technologies, exemplified by Minitel computers, and serves as basis to describe the postmodern condition. Today this materiality is often referred to as ‘the digital’. In order to enter into a dialogue with Lytoard, and to rende

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Tschofen, Monique, and Lai-Tze Fan. "Introduction : Matérialités vibrantes à travers les médias, la littérature et la théorie." Imaginations: Journal of Cross-Cultural Image Studies 14, no. 2 (2023): 5–17. http://dx.doi.org/10.17742/image29699.

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This special issue of *Imaginations: Journal of Cross-Cultural Image Studies* takes materiality as the critical touchstone for a new comparative literary and media studies. We ask: How can an examination of the modes of inscription across media, platforms, and interfaces draw greater attention to what is often ignored in critical conversations about texts, objects, and bodies; how can such an investigation attend to the vitality of their materiality? Studies of materiality may occur of/in: images, texts, subjects, and objects; philosophical approaches to materiality and interrelationality; cul

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Horst, Heather, and Daniel Miller. "Normativity and Materiality: A View from Digital Anthropology." Media International Australia 145, no. 1 (2012): 103–11. http://dx.doi.org/10.1177/1329878x1214500112.

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As with all material culture, the digital is a constitutive part of what makes us human. Social order is itself premised on a material order, making it impossible to become human other than through socialising within a material world of cultural artefacts, and includes the order, agency and relationships between things, and not just their relationship to persons. This article considers the consequences of the digital culture for our understanding of what it is to be human. Drawing upon recent debates concerning materiality in the sub-field of digital anthropology, we focus upon four forms of m

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Neubert, Christoph. "Vom Disegno zur Digital Materiality." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 1 (2012): 46–68. http://dx.doi.org/10.28937/1000106210.

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Janik, Justyna. "The material world of digital fictions." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (2021): 57–72. http://dx.doi.org/10.14746/i.2021.38.04.

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This paper explores the interdependency between digital matter and the representational or mimetic layer of the digital game object. The main aim is to foreground the mechanisms by which the representationalelements of the game world emerge from the materiality of the process of play. These mechanisms are examined from the perspective of the ontology of the game object. The issue of digital materiality will be linked with the aesthetical explorations of Tadeusz Kantor, who emphasised the relation between the materiality of the theatre and its fictional elements. As the main example of this ana

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Heilmann, Till A. "Reciprocal Materiality And The Body Of Code." Digital Culture & Society 1, no. 1 (2015): 39–52. http://dx.doi.org/10.14361/dcs-2015-0104.

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Abstract Materiality has often been a neglected factor in discussions of digitally encoded information. While a lot of early works in media studies suffered from this shortcoming, questions regarding the materiality of digital technology and artefacts have slowly gained prominence in recent debates. Matthew Kirschenbaum’s concept of “forensic” and “formal” materiality has proven particularly useful to the study of digital artefacts, differentiating the (routinely overlooked) physical existence of digital data from their (commonly discussed) logical character. However, analyses concerning the m

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Ries, Thorsten. "Digital history and born-digital archives: the importance of forensic methods." Journal of the British Academy 10 (2022): 157–85. http://dx.doi.org/10.5871/jba/010.157.

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This article explores the historical materiality of born-digital primary records from a digital forensic, archival and historical scholarship perspective. On a conceptual level, the article discusses the historical materiality, layeredness and complexity of born-digital records, considers the impact of technological change on their forensic materiality as well as archival and historical scholarship methodology and practice. These historical, forensic and archival perspectives will be laid out drawing on examples from Glyn Moody�s personal digital archive, born-digital documents of the Mass Obs

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Zuanni, Chiara. "Theorizing Born Digital Objects: Museums and Contemporary Materialities." Museum and Society 19, no. 2 (2021): 184–98. http://dx.doi.org/10.29311/mas.v19i2.3790.

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This paper explores the characteristics of born digital objects and how their materiality is framed and transformed in the musealization process. It draws on vibrant materialism and web archiving, framing born digital objects as assemblages and proposing a distinction between these and reborn digital objects, i.e. their collected counterparts. The paper relates this new framing of digital objects to established museological frameworks, such as analyses of the musealization process through the lenses of semiotics and research on authenticity in relation to digital reproductions, in order to unp

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Mohar, Alenka Kepic. "The Materiality of Textbooks." Logos 30, no. 2 (2019): 26–34. http://dx.doi.org/10.1163/18784712-03002005.

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This article discusses changes in the materiality of textbooks by examining several examples of primarily Slovene textbooks from various periods. By focusing on their spread design rather than technical aspects (e.g., length, weight, and format), one may infer that their materiality changed with the development of printing technologies and publishing skills. Based on the assumption that textbook visuality is a field of meaning that requires different bodily movements, postures, and engagement with the physical environment to produce cognitive processing, this article sheds light on how the bod

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Makris, D., C. Sakellariou, and L. Karampinis. "Emerging materiality through dynamic digital conservation." Digital Applications in Archaeology and Cultural Heritage 23 (December 2021): e00198. http://dx.doi.org/10.1016/j.daach.2021.e00198.

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Vones, Katharina. "Microjewels: Digital Enchantment and New Materiality." Journal of Science and Technology of the Arts 7, no. 1 (2015): 29. http://dx.doi.org/10.7559/citarj.v7i1.148.

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Jaymee Goh Sook Yi. "Steampunk Materiality for the Digital Humanities." Science Fiction Studies 45, no. 2 (2018): 394. http://dx.doi.org/10.5621/sciefictstud.45.2.0393.

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Dever, Maryanne, and Linda Morra. "Literary archives, materiality and the digital." Archives and Manuscripts 42, no. 3 (2014): 223–26. http://dx.doi.org/10.1080/01576895.2014.966731.

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Kucirkova, Natalia. "Theorising materiality in children’s digital books." Libri et liberi 8, no. 2 (2019): 279–92. http://dx.doi.org/10.21066/carcl.libri.8.2.2.

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Participatory literacies are new ways of experiencing narratives and of “interpreting, making, sharing and belonging in increasingly globally and digitally mediated cultures” (Wohlwend 2017a: 62). This paper discusses the material features of children’s digital books and the extent to which they support participatory literacies. The material features of digital books are conceptualised in terms of their external and internal properties. Based on a theoretical discussion and empirical observations it is argued that specific internal material properties of children’s digital books, namely their

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Seymour, Aaron. "Digital Materiality: Digital Fabrication and Hybridity in Graphic Design." Design Principles and Practices: An International Journal—Annual Review 5, no. 3 (2011): 527–34. http://dx.doi.org/10.18848/1833-1874/cgp/v05i03/38099.

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Mardon, Rebecca, and Russell Belk. "Materializing digital collecting: An extended view of digital materiality." Marketing Theory 18, no. 4 (2018): 543–70. http://dx.doi.org/10.1177/1470593118767725.

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If digital objects are abundant and ubiquitous, why should consumers pay for, much less collect them? The qualities of digital code present numerous challenges for collecting, yet digital collecting can and does occur. We explore the role of companies in constructing digital consumption objects that encourage and support collecting behaviours, identifying material configuration techniques that materialize these objects as elusive and authentic. Such techniques, we argue, may facilitate those pleasures of collecting otherwise absent in the digital realm. We extend theories of collecting by high

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Dabek, Ryszard. "Immaterial/Materiality." Journal of Asia-Pacific Pop Culture 2, no. 2 (2017): 220–37. http://dx.doi.org/10.5325/jasiapacipopcult.2.2.220.

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Abstract This article explores the idea of “materiality” as it relates to contemporary experimental moving image practice. It argues that rather than effacing the role of materiality, the digitization of the moving image has heightened and complexified its ability to function as an engine of affect. Here, the idea of “material” is considered a specter that constantly returns to reinvent itself within the liquid domain of the digital. To illustrate these points, I will draw off a range of example artworks featured in the recent internationally focused curatorial project Re:Cinema. These works s

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Wojas, Gosia. "The Infallible and the Specter – Manifesting (artificial) subjectification in female sex robots." Matter: Journal of New Materialist Research 8 (July 31, 2023): 41–53. http://dx.doi.org/10.1344/jnmr.v8.43452.

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The text outlines a recent artistic practice and theoretical research into a female AI sex doll object, its materiality, and signification. It is a culmination of a three-year study and intervention into the coded systems of control and sites of resistance that play out within the context of an artificial female body. Machine Learning (ML) algorithm is the mediator between sex robots, their users and cloud data storage, facilitating learning from their inter-actions. I examine this engagement and materiality of the sex robot through notions of feminist mimesis, substitute and simulation agains

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Beucher, Rebecca, Lara Handsfield, and Carolyn Hunt. "What Matter Matters? Retaining the Critical in New Materialist Literacy Research." Journal of Literacy Research 51, no. 4 (2019): 444–79. http://dx.doi.org/10.1177/1086296x19876971.

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The field of literacy research has seen a recent surge in scholarship focusing on how matter—both human and nonhuman—comes to matter in literacy research and practice. This article explores how new materialist theories may be recruited for literacy research motivated by an anti-racist ethic. We present an illustrative intra-action analysis of a short autobiographical video produced by Malcolm, a Black male high school student, for a digital autobiography class assignment. Our analysis, informed by both new materialist and poststructuralist theories and emphasizing both discourse and materialit

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Bollmer, Grant. "Technological Materiality And Assumptions About ‘Active’ Human Agency." Digital Culture & Society 1, no. 1 (2015): 95–110. http://dx.doi.org/10.14361/dcs-2015-0107.

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Abstract One of the most notable challenges to emerge from the materialist turn in media studies is the rejection of the ‘active audience’ paradigm of British cultural studies. And yet, in spite of the increasing attention to materiality, many of the problems associated with the split between German media studies traditions and those derived from cultural studies persist today. While no longer concerned with representation, privilege is nonetheless often granted to the material agency of ‘real people’ as that which shapes and determines the materiality of technology. This article is primarily

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Scarlett, Ashley. "Interpreting An Improper Materialism." Digital Culture & Society 1, no. 1 (2015): 111–30. http://dx.doi.org/10.14361/dcs-2015-0108.

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Abstract This paper explores catachrestic synesthesia as a key interpretive strategy that contemporary media artists are drawing upon in an effort to conceptualize and grapple with ‘digital materiality.’ I argue that these synesthetic gestures are not merely poetic flourishes. Instead they test the limits of representation, identifying gaps in language while employing the body in order to triangulate modes of computational materiality that are proving conceptually and phenomenologically evasive. Grounded within a series of materialdriven interviews that I conducted with thirty-five digital med

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Fornaro, Peter, Andrea Bianco, and Lukas Rosenthaler. "Digital Materiality with Enhanced Reflectance Transformation Imaging." Archiving Conference 2016, no. 1 (2016): 11–14. http://dx.doi.org/10.2352/issn.2168-3204.2016.1.0.11.

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Avery Slater. "Materiality and the Digital Future of Inscription." symplokē 26, no. 1-2 (2018): 461. http://dx.doi.org/10.5250/symploke.26.1-2.0461.

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Pink, Sarah, Shanti Sumartojo, Deborah Lupton, and Christine Heyes LaBond. "Empathetic technologies: digital materiality and video ethnography." Visual Studies 32, no. 4 (2017): 371–81. http://dx.doi.org/10.1080/1472586x.2017.1396192.

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Burk, Dan L. "Materiality and Textuality in Digital Rights Management." Computers and Composition 27, no. 3 (2010): 225–34. http://dx.doi.org/10.1016/j.compcom.2010.06.007.

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Schweibenz, Werner. "Digital materialities and "real things" : some thoughts on digital objects and the museum." Museologica Brunensia, no. 2 (2024): 2–14. https://doi.org/10.5817/mub2024-2-1.

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The relationship between museums and digital materialities is complex. According to museological theory, artefacts have physical dimensions and informational ones. The latter can be digitised, adding virtual properties to physical ones. This is important for museums as primarily visual institutions and "don’t-touch places” with materiality currently holding centre stage in museological discussions. Recently, there has been a tendency to replace physical objects with effects produced by information and communication technology that offers possibilities to present digital representations of obje

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Irwansyah, Irwansyah. "Meaningful Digital Learning in High School: A Digital Materiality Exploration." International Journal of Learner Diversity and Identities 30, no. 2 (2023): 41–61. http://dx.doi.org/10.18848/2327-0128/cgp/v30i02/41-61.

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Kannengießer, Sigrid. "Engaging with and reflecting on the materiality of digital media technologies: Repair and fair production." New Media & Society 22, no. 1 (2019): 123–39. http://dx.doi.org/10.1177/1461444819858081.

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How do people think about and engage with the materiality of digital media technologies and thereby try to transform the devices and society? The article discusses this question by presenting the results of two qualitative studies in which people reflect on and engage with the materiality of media technologies. In the first case, the repairing of media devices in Repair Cafés was analyzed, in the second, the focus was on the production and appropriation of the Fairphone, a smartphone which should be produced under fair working conditions. In both initiatives people reflect on the materiality o

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Andersen, Christian Ulrik, Søren Bro Pold, and Morten Suder Riis. "A Dialogue on Cassette Tapes and their Memories." A Peer-Reviewed Journal About 3, no. 1 (2014): 156–67. http://dx.doi.org/10.7146/aprja.v3i1.116095.

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The interest for lost media practices and materials appears intrinsic to contemporary popular and maker culture — a post-digital culture that through vinyl, cassette tapes, print, chemical photography, etc. revisits a time before the digital revolution. How are we to perceive this re-investment in history and old technologies? It is obvious to regard this as nostalgia and a trendy taste for lo-fi. However, the aim of this article is to develop an understanding of how these practices also express a critique of contemporary digital culture. This critique feeds on two competing perspectives on th

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Magaudda, Paolo. "When materiality ‘bites back’: Digital music consumption practices in the age of dematerialization." Journal of Consumer Culture 11, no. 1 (2011): 15–36. http://dx.doi.org/10.1177/1469540510390499.

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Dematerialization of artefacts and material objects is a relevant issue in consumer studies, especially when we consider the ongoing changes regarding the consumption of cultural goods. This article adopts a theory-of-practice approach to analyse the consequences of dematerialization on the practices of digital music consumption. From an empirical point of view, the article is based on data collected during research into the appropriation of digital music technologies and based on 25 in-depth narrative semi-structured interviews with young Italian digital music consumers. The analysis mainly f

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Gerlek, Selin, and Sebastian Weydner-Volkmann. "Materiality and Machinic Embodiment." Journal of Human-Technology Relations 3 (March 10, 2025): 1–15. https://doi.org/10.59490/jhtr.2025.3.7387.

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The rise of ChatGPT affords a fundamental transformation of the dynamics in human-technology interaction, as Large Language Model (LLM) applications increasingly emulate our social habits in digital communication. This poses a challenge to Don Ihde’s explicit focus on material technics and their affordances: ChatGPT did not introduce new material technics. Rather, it is a new digital app that runs on the same physical devices we have used for years. This paper undertakes a re-evaluation of some postphenomenological concepts, introducing the notion of quasi-materiality to better understand the

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Veryeri Alaca, Ilgım. "Materiality in picturebooks." Libri et liberi 8, no. 2 (2019): 243–55. http://dx.doi.org/10.21066/carcl.libri.8.2.8.

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Through this special issue, we seek to explore the educational, creative, and intimate qualities of materials and structures in picturebooks in emerging and existing book formats. From hornbooks to iPads, children’s reading experiences have been mediated via transforming book systems in ways serving to educate, to entertain, and to facilitate narrative. Material and sensory aspects of picturebooks also have the capacity to act as a third narrative system, operating besides words and images. These aspects may engage and challenge the child to comprehend a subject through the experiential handli

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Hakimi, Jedd. "“Why Are Video Games So Special?”: The Supreme Court and the Case Against Medium Specificity." Games and Culture 15, no. 8 (2019): 923–42. http://dx.doi.org/10.1177/1555412019857982.

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The 2011 U.S. Supreme Court case Brown v. Entertainment Merchants Association adjudicated the State of California’s right to regulate the sale of “violent” video games and, in the process, effectively considered how video games should be apprehended as a cultural form under the law. The court’s decision cited the missteps of judicial film censorship in protecting video games as a form of expression under the First Amendment, placing video games into a cultural time line of expressive forms. Some media scholars contest the court’s approach for overvaluing the cultural aspects of video games and

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Pastor, Julia. "The Materiality of Tapestry in The Digital Age." Journal of Modern Craft 9, no. 3 (2016): 289–311. http://dx.doi.org/10.1080/17496772.2016.1249111.

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Peters, Maybelle. "Using data as materiality." Animation Practice, Process & Production 12, no. 1 (2023): 161–83. http://dx.doi.org/10.1386/ap3_00048_1.

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In this article, I discuss how an analysis of creating human avatars has been a catalyst for developing a critically engaged use of motion capture data. I demonstrate how my moving image practice responds to motion capture technology processes. This development of a methodological framework has been used to rethink how I construct virtual animated figures. Each stage of making considers data as a piece of interpretive information to create animation. I have examined three phases of production. They are integral to the fabrication, construction and mediation of digital humans found in motion ca

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Gal, Uri, Nicholas Berente, and Friedrich Chasin. "Technology Lifecycles and Digital Technologies: Patterns of Discourse across Levels of Materiality." Journal of the Association for Information Systems 23, no. 5 (2022): 1102–49. http://dx.doi.org/10.17705/1jais.00761.

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The technology lifecycle model is extensively used to study technology evolution and innovation. However, this model was developed for industrial-age material technologies and does not address digital technologies with nonmaterial elements. Therefore, a question emerges as to whether the level of technological materiality is implicated in different dynamics of innovation, as reflected in the technology lifecycle. Digital technologies evolve through discourse that involves interactions among multiple stakeholders that shape the evolutionary trajectory of the technology. Therefore, we set out to

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Lanzeni, Debora, and Sarah Pink. "Digital material value: Designing emerging technologies." New Media & Society 23, no. 4 (2021): 766–79. http://dx.doi.org/10.1177/1461444820954193.

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In this article, we examine how the digital material value of emerging technologies is articulated in technology design contexts. We argue that here digital material value lies not in the monetisation of an artefact or product but in the opening up of possibilities for its use. Thus, to generate digital material value, a certain configuration of things and processes that enables its value to be relevant is required. We develop this through a processual theory of digital materiality, which attends to how the affordances of digital material things emerge in shifting circumstances, and a correspo

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Reuter, Anders. "Pop Materialising: Layers and topological space in digital pop music." Organised Sound 27, no. 1 (2022): 59–68. http://dx.doi.org/10.1017/s1355771822000243.

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This article argues that pop music’s increasing assimilation of hip-hop and EDM (electronic dance music) practices combine with computational automation and this has substantial consequences for musical space. Traditional ‘space-makers’ such as reverb or delay are subject to other functions such as frequency filters and compression that interrelate processual layers of textures. Instead of an active-listener-orientated sonic space with distinct source-bonded entities, it is based on a particular sonic materiality. With a new media theoretical approach, I consequently argue that this new type o

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Grimshaw, David. "Crafting the Digital: Developing expression and materiality within digital design and manufacture." Design Journal 20, sup1 (2017): S3735—S3748. http://dx.doi.org/10.1080/14606925.2017.1352878.

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Gourlay, Lesley. "There Is No 'Virtual Learning': The Materiality of Digital Education." Journal of New Approaches in Educational Research 10, no. 1 (2021): 57. http://dx.doi.org/10.7821/naer.2021.1.649.

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The distinction between face-to-face and distant digitally-mediated educational engagement is a complex one, and the two modes are often combined in practice, via ‘blended learning’ or the use of a VLE to support campus-based teaching. The current Covid-19 pandemic has thrown this distinction into relief, in a context where educationalists have been forced to move to fully distant engagement in a very short timeframe. This paper explores how this predicament has brought to the fore the nature of our engagement with digital knowledge practices and screen-based communication, arguing that the no

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Aleksandra N., Balash. "Museology and research of new materiality." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 18–23. http://dx.doi.org/10.30725/2619-0303-2022-1-18-23.

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The expansion and diversification of the museum space prompts researchers to return to the concept of «museum object», which is fundamental for all museum activities and theoretical museology. The interdisciplinary character of modern humanitarian knowledge gives way to the integration of the concepts of a museum object with new areas of material studies. These studies directly interact with museum practice and influence the construction of new museological theories. The dynamism of the new methodology of material research correlates with the performative nature of modern museum practices, the

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Tebeau, Mark. "Engaging the Materiality of the Archive in the Digital Age." Collections: A Journal for Museum and Archives Professionals 12, no. 4 (2016): 475–87. http://dx.doi.org/10.1177/155019061601200411.

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This article asks how public audiences are negotiating the material world of archives and artifacts in the digital age. The digital age would seem to have diminished the physical experience of the archive and artifact, creating a world of pure information. However, the binary of virtual and physical obscures more than it explains. In recent years, digital tools have begun to reconnect public audiences to the physical world in sometimes surprising ways. This article draws examples from interpretive projects using mobile devices, crowdsourcing in museum environments, and explorations of digital

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Pötzsch, Holger. "Media Matter." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 15, no. 1 (2017): 148–70. http://dx.doi.org/10.31269/triplec.v15i1.819.

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The present contribution maps materialist advances in media studies. Based on the assumption that matter and materiality constitute significant aspects of communication processes and practices, I introduce four fields of inquiry - technology, political economy, ecology, and the body - and argue that these perspectives enable a more comprehensive understanding of the implications of contemporary technologically afforded forms of interaction. The article shows how each perspective can balance apologetic and apocalyptic approaches to the impact of in particular digital technologies, before it dem

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Johnson, Alix. "Down to earth: The situated materiality of digital media." Journal of Environmental Media 2, no. 2 (2021): 185–91. http://dx.doi.org/10.1386/jem_00060_1.

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In recent years, Iceland has been positioned as a ‘natural’ site for data storage, thanks to its cool climate and abundant hydroelectric energy. Starting, however, from a string of earthquakes that shook the island in 2021, this article explores the shaky ground on which those claims rest. Taking into account the local impacts of hydropower production in Iceland, and of anthropogenic climate change, to which the global ICT industry contributes, I make a case for considering data’s situated materiality, or its entanglement with particular land forms and earth processes. From this vantage point,

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Manoff, Marlene. "The Materiality of Digital Collections: Theoretical and Historical Perspectives." portal: Libraries and the Academy 6, no. 3 (2006): 311–25. http://dx.doi.org/10.1353/pla.2006.0042.

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Ekbia, Hamid R. "Digital artifacts as quasi-objects: Qualification, mediation, and materiality." Journal of the American Society for Information Science and Technology 60, no. 12 (2009): 2554–66. http://dx.doi.org/10.1002/asi.21189.

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Granholm, Martina E. "Materiality Matters When Organizing for Crisis Management." International Journal of Information Systems for Crisis Response and Management 10, no. 2 (2018): 28–48. http://dx.doi.org/10.4018/ijiscram.2018040102.

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Sensemaking is the process to make sense of an unknown event. Research on the contribution of materiality in sensemaking is currently an area in need of further study. The Swedish system of crisis management puts the municipality in a key position when managing a crisis. Making the municipal situation room an interesting area for research. This study focuses on sensemaking in the municipal situation room during crisis management. The area of interest is when and why digital and/or non-digital resources are being used during sensemaking. The study contributes to an understanding of how sensemak

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Liddell, Frances. "Building Shared Guardianship through Blockchain Technology and Digital Museum Objects." Museum and Society 19, no. 2 (2021): 220–36. http://dx.doi.org/10.29311/mas.v19i2.3495.

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This article considers the notion of shared guardianship in the context of digital museum objects and blockchain technology, arguing that this technology can contribute to the production of value in digital museum objects that goes beyond the monetary. Shared guardianship is understood to be a process of prioritizing the experience of others and forming a diverse set of stakeholders that transforms understandings around ownership; meanwhile, a blockchain is a type of distributed ledger technology which can be used to identify digital files and so make them feel ownable and authentic. As such,

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Skains, R. Lyle. "The materiality of the intangible: Literary metaphor in multimodal texts." Convergence: The International Journal of Research into New Media Technologies 25, no. 1 (2017): 133–47. http://dx.doi.org/10.1177/1354856517703965.

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Based on a larger practice-based research project in digital writing, this article examines how the materiality of digital media contributes to a layered metaphor that delivers meaning, reflects on the cognitive processes (the writer’s and the reader’s) of navigation and generates a dynamic narrative structure through multimodality, unnatural narration and user interaction. Many writers and artists engage with their chosen medium through an instinctive understanding of the materials at hand, gained through experience; the explicit study of a medium’s materiality is not always required for arti

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Serain, Clément. "The Sensitive Perception of Cultural Heritage’s Materiality through Digital Technologies." Studies in Digital Heritage 2, no. 1 (2018): 95–105. http://dx.doi.org/10.14434/sdh.v2i1.24606.

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 This article focuses on the impact of digital technologies in the field of cultural heritage conservation and restoration (i.e., Conservation Science). It arises from thesis research I am currently preparing at Paris 8 University, in France. Having observed a renewal of our relationship to cultural heritage through information and communication technologies, I aim to explain how these technologies affect our sensitive perception and consequently our understanding of the materiality of virtually represented objects. In the double context of the museum institution and the conservation-res

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