Hvilken nat fulgte efter natten? Når jeg tænker på det sted, tænker jeg, at det ligger udenfor alting.

Nordlysets sitren i din stemme. Jeg drak korte slurke af teen, spiste af det tørre knækbrød, smørret og sesamfrøene. Hvorfor trak du mig med til de yderste bjerge? Farvede et sår i dit første ord.

Vi var stadig, vi var stadigvæk sitrende, sitrende i de mindste detaljer. Du, dine øjne. Jeg bladrer i en tilfældig bog.

Jeg sejlede henover havet, henover himlen. Oplæsning for intetheden.

Mine knogler suser også, og inde i dem er der et mørkt væsen som bølger og bevæger sig. Jeg fandt en linje et sted under min reol.

We are living in an interface culture: wherever we are, we find touch screens, microphones, sensors, cameras; and we are constantly reminded of interfaces through their sounds. We are simultaneously using it as a tool and communicating with it as a medium. We analyzed the data with particular emphasis on people’s experiences of the literary interaction through a performative lens. These interactions make it possible for people to affectively and ergodically engage with digital literature and the role of the library today.

These can change the users’ perception of the installation. When the user squeezes harder, the text changes, tied to the intensity of the squeezing. Further, it was to be in a different format from that which can be experienced by readers at home, in front of a PC, on a smartphone or a tablet. To our surprise, the visitors we observed and interviewed did not explicitly question nor, even when directly asked, reflect upon in which way the artworks were ‘served’ to them.

With Webstrates, users can actually add and remove instruments at run-time.

This article is organised in the following manner:

At the same time, Alice uses a more sophisticated vector graphics editor to clean up the lines. Content is represented both in an easy-to-store text format (HTML) and as objects in a standardized Docu- ment Object Model (DOM). Each of the books is secured to its podium with a wire, and has a title written on it with a white circle in the center indicating that it can be squeezed. The dismissal of mediation is a driving force in much IT development, and has been framed as ’Virtual Reality’, ’Augmented Reality’, ’Bodily Interaction’, ’Calm Computing’ as well as design parameters such as minimalism, user friendliness, seamless interaction, etc.

We are living in an interface culture: wherever we are, we find touch screens, microphones, sensors, cameras; and we are constantly reminded of interfaces through their sounds.

Further, it was to be in a different format from that which can be experienced by readers at home, in front of a PC, on a smartphone or a tablet. This interaction can develop into a deep, continued engagement with the installation through the production of user-generated content. Three decades later, the table is turning:

When a person picks up one of the books it senses the movement, and a piece of “paper” materializes on the screen. Today, we see a wide range of attempts to explore what it means to design for various settings and types of interaction, which are often at the edge of designerly and artistic experimentation.

It goes beyond ease-of-use, and suggests ways to design for literary interaction and considering users as reader-writers. Already during WW2, the computer was used for ballistics as well as cryptology.

Consequently, the interaction is often described as “game-like”, or “just like Playstation”.

Over the last decade tabletop computing has gained significant interest in both academia and the industry. In more general terms, participation as partial and overtaken presents three challenges to design. In more general terms, participation as partial and overtaken presents three challenges to design. Our experience is that the process of manually aligning the grid is laborious and error prone, and even if the alignment is done extremely meticulously the compensation is too coarse.

Participation as a matter of concern goes against universal standards for participation and the ability to claim, as a matter of fact, what is and what is not participation. Hence, the client needs nothing but a wireless network interface and a standard web browser. She prefers editing in a plain text style, with a corresponding set of sophisticated layout and citation tools; whereas Bob uses a WYSIWYG editor with a print preview style that matches the final print layout. With this, the user is reminded of an interaction that is not purely functional.

Further, it was to be in a different format from that which can be experienced by readers at home, in front of a PC, on a smartphone or a tablet. With this, the user is reminded of an interaction that is not purely functional.

Others (like the game-interface) are oriented towards human cognition and cultural traditions. At these events, thousands have been, and will be, exposed to the workings of digital literature for the first time. This interaction can develop into a deep, continued engagement with the installation through the production of user-generated content.