William Kentridge, Second Hand Reading (2013)

That s on parentheses of Writing(s) also aims to give visibility to the specific conditions in which the writing is developed in our days: Most of what we read and write we do on screen pages, not on paper. But the affirmation -which is only the verification of what we understand as a palpable reality- can not be the starting point for a position that has more confrontation than dialogue. With the road traveled these past thirty years, we are more interested in the role we can play as a bridge between generations and uses than as a bastion of one or another form of writing, with that dichotomy that we never share.

What we want is an open, conciliatory, agglutinating look. That is why we propose this meeting point to share a peaceful reflection, aware of the fascinating possibilities of the present and of the most valuable heritage of the past, more interested in reconstructing the common path than in digging ditches. But it makes no sense to ignore the changes: to renounce the role of spectators - and even actors - privileged from a single moment. We want to gather the best studies on digital writing, and encourage them, and also support creation in this format. What new digital literature brings is not only a matter of cost or space (matters that are more external than internal for literature, although they directly affect it): What we have called expanded writing, with very stimulating advances on paper (in Sebald, for example), implies the enrichment of the written stories, of the stories, with other mechanisms that can be added or not to the pure text: images (fixed or moving), audio, hypertext links, different levels of information with the activation of the reader of hidden texts, etc. It is to make the soloist a conductor, capable of including an image or a video or a song if the story he wants to tell needs it.