An argument that theoretical works can signify through their
materiality-their "noise," or such nonsemantic elements as
typography-as well as their semantic content. In Material Noise,
Anne Royston argues that theoretical works signify through their
materiality-such nonsemantic elements as typography or color-as
well as their semantic content. Examining works by Jacques Derrida,
Avital Ronell, Georges Bataille, and other well-known theorists,
Royston considers their materiality and design-which she terms
"noise"-as integral to their meaning. In other words, she reads
these theoretical works as complex assemblages, just as she would
read an artist's book in all its idiosyncratic tangibility. Royston
explores the formlessness and heterogeneity of the Encyclopedia Da
Costa, which published works by Bataille, Andre Breton, and others;
the use of layout and white space in Derrida's Glas; the
typographic illegibility-"static and interference"-in Ronell's The
Telephone Book; and the enticing surfaces of Mark C. Taylor's
Hiding, its digital counterpart The Real: Las Vegas, NV, and
Shelley Jackson's Skin. Royston then extends her analysis to other
genres, examining two recent artists' books that express explicit
theoretical concerns: Johanna Drucker's Stochastic Poetics and
Susan Howe's Tom Tit Tot. Throughout, Royston develops the concept
of artistic arguments, which employ signification that exceeds the
semantics of a printed text and are not reducible to a series of
linear logical propositions. Artistic arguments foreground their
materiality and reflect on the media that create them. Moreover,
Royston argues, each artistic argument anticipates some aspect of
digital thinking, speaking directly to such contemporary concerns
as hypertext, communication theory, networks, and digital
distribution.
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