The unsatisfied reading
Résumé
Sensibility and reason constitute the two poles around which revolve any aesthetics (Jimenez, 1997: 25). Although digital literature works seem to repress sensibility and lyricism (Strehovec 2006) in many cases, some of them seem to work a disjunction between these two sides, making them complementary and necessary. Such a disjunction is not isolated in the digital medium. The author’s multipolar dissociation has been known for a long time: the functions of the designer of a model and those of the surface shape, example of that model, are separated between the human designer of the program (the meta-author) and the program itself, either called the author (Hofstadter, 1985 :680), or referred to only as the writer (Balpe, 1997). The text splits into a texte-auteur, a texte-à-voir and a generating function (Bootz, 1996 et 2000). These disjunctions between proprieties and functionalities on various entities that were formerly united, are consequences of the specific structure of the computer device, which plays the role of an environment, even more than the medium does. The text and the author-function do not come out unharmed from that literary mutation; it would be very surprising if it did not affect reading itself. Actually, it is divided into several modalities, i.e. reading (Bootz, 2002a : 58), double reading (Bootz, 2004) and meta-reading (Bootz, 2006). This article is willing to describe the aesthetic meaning of this division by putting into relation the theses of Walter Benjamin and Mario Costa.
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