Abstract
In this essay I introduce the notion of transducer function in the fields of electronic literature and digital art. Firstly, I survey the transduction concept throughout its history in such domains as physics, genetics, microbiology, biochemistry, physiology, psychology, philosophy, logic and computer science. Secondly, I discuss the relevance of a transduction theory versus the advantage of a transducer function. I migrate the transduction concept into the fields of electronic literature and digital art, showcasing the contexts of application, and several transfer processes and functions. Finally, I apply the transducer function as a theoretical typology and a recognizable system, highlighting some artworks by R. Luke DuBois, Andre Sier and Scott Rettberg that can be read within this framework. Thus, it means taking into account a set of transfer and conversion processes: information, patterns and data among mechanisms, technologies, themes, creative and theoretical guidelines. In this sense, I develop a critical framework that operates as a method for analyzing and comprehend further digital artworks.
Highlights
Since the 1940s, the concept of transduction has been applied to physics, genetics, microbiology, biochemistry, physiology, psychology, philosophy, logic and computer science
The transducer is : A device that converts one form of energy into another form of energy. It consists of converting electrical energy into a mechanical displacement or converting a non-electrical physical quantity such as sound, temperature, pressure, velocity, or light, into electrical quantity
The concept of transducer has proven to be relevant when intersected with the fields of literary and artistic studies, the theory of electronic literature and digital art, since one of the basic devices of the virtual environment is the file, with its consequent specification of storage, transfer and data con-version
Summary
As Katherine Hayles (2008) points out, when importing a concept, tends to perform a transforming operation, removing and adding new meanings. The works of Joyce (1995), Aarseth (1997), Kittler (1999), Manovich (2001), Zielinski (2006), Galloway (2006), Hansen (2006), Jana & Tribe (2006), Paul (2008) and Hayles (2008) have all attempted to establish a set of features and critical viewpoints, respectively, in hyperfiction, cybertextuality, media, new media, media archeology, game studies, new media philosophy, new media art, digital art and electronic literature All these models are useful, their scope tends to be universal, defining each field in their specificity. Since the purpose of this essay is not to confront and explain each of these models, neither to exploit the flaws or the unclassifiable cases, I can say that its aim is rather to diagnose similar processes and mechanisms in many works of electronic literature and digital art
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