Lori Emerson examines how interfaces—from today’s multitouch devices to yesterday’s desktops, from typewriters to Emily Dickinson’s self-bound fascicle volumes—mediate between writer and text as well as between writer and reader. Following the threads of experimental writing from the present into the past, she shows how writers have long tested and transgressed technological boundaries. Reading the means of production as well as the creative works they produce, Emerson demonstrates that technologies are more than mere tools and that the interface is not a neutral border between writer and machine but is in fact a collaborative creative space. Reading Writing Interfaces begins with digital literature’s defiance of the alleged invisibility of ubiquitous computing and multitouch in the early twenty-first century and then looks back at the ideology of the user-friendly graphical user interface that emerged along with the Apple Macintosh computer of the 1980s. She considers poetic experiments with and against the strictures of the typewriter in the 1960s and 1970s and takes a fresh look at Emily Dickinson’s self-printing projects as a challenge to the coherence of the book. Through archival research, Emerson offers examples of how literary engagements with screen-based and print-based technologies have transformed reading and writing. She reveals the ways in which writers—from Emily Dickinson to Jason Nelson and Judd Morrissey—work with and against media interfaces to undermine the assumed transparency of conventional literary practice.

A cultural theory of the interface as a relation that is both ubiquitous and elusive, drawing on disciplines from cultural theory to architecture. In this book, Branden Hookway considers the interface not as technology but as a form of relationship with technology. The interface, Hookway proposes, is at once ubiquitous and hidden from view. It is both the bottleneck through which our relationship to technology must pass and a productive encounter embedded within the use of technology. It is a site of contestation—between human and machine, between the material and the social, between the political and the technological—that both defines and elides differences. A virtuoso in multiple disciplines, Hookway offers a theory of the interface that draws on cultural theory, political theory, philosophy, art, architecture, new media, and the history of science and technology. He argues that the theoretical mechanism of the interface offers a powerful approach to questions of the human relationship to technology. Hookway finds the origin of the term interface in nineteenth-century fluid dynamics and traces its migration to thermodynamics, information theory, and cybernetics. He discusses issues of subject formation, agency, power, and control, within contexts that include technology, politics, and the social role of games. He considers the technological augmentation of humans and the human-machine system, discussing notions of embodied intelligence. Hookway views the figure of the subject as both receiver and active producer in processes of subjectification. The interface, he argues, stands in a relation both alien and intimate, vertiginous and orienting to those who cross its threshold.

Drawing on his own expertise in the humanities and on the Web, Steven Johnson not only demonstrates how interfaces - those buttons, graphics, and words on the computer screen through which we control information - influence our daily lives, but also tracks their roots back to Victorian novels, early cinema, and even medieval urban planning. The result is a lush cultural and historical tableau in which today's interfaces take their rightful place in the lineage of artistic innovation. With a distinctively accessible style, Interface Culture brings new intellectual depth to the vital discussion of how technology has transformed society, and is sure to provoke wide debate in both literary and technological circles.

The truly world-wide reach of the Web has brought with it a new realisation of the enormous importance of usability and user interface design. In the last ten years, much has become understood about what works in search interfaces from a usability perspective, and what does not. Researchers and practitioners have developed a wide range of innovative interface ideas, but only the most broadly acceptable make their way into major web search engines. This book summarizes these developments, presenting the state of the art of search interface design, both in academic research and in deployment in commercial systems. Many books describe the algorithms behind search engines and information retrieval systems, but the unique focus of this book is specifically on the user interface. It will be welcomed by industry professionals who design systems that use search interfaces as well as graduate students and academic researchers who investigate information systems.

Do you need a break from all the code - intensive, heavily technical books you usually pour over? Interface visionary Bruce & "Tog & " Tognazziniwill refocus your sights on the horizon with an eye - opening view of how the computer and communication industries together are poised to transform our home, education, and work lives. This readable book offers revealing, provocative, and sometimes controversial insights on a broad sampling of technology topics from quality management to the meaning of standards. Taken together, these insights furnish a forward - looking blueprint for successful software development for the future.

Drawing on a wide range of disciplines—linguistics, phenomenological analysis, cultural anthropology, media studies, and intellectual history—Walter J. Ong offers a reasoned and sophisticated view of human consciousness different in many respects from that of structuralism. The essays in Interfaces of the Word are grouped around the dialectically related themes of change or alienation and growth or integration. Among the subjects Ong covers are the origins of speech in mother tongues; the rise and final erosion of nonvernacular learned languages; and the fictionalizing of audiences that is enforced by writing. Other essays treat the idiom of African talking drums, the ways new media interface with the old, and the various connections between specific literary forms and shifts in media that register in the work of Shakespeare and Milton and in movements such as the New Criticism. Ong also discusses the paradoxically nonliterary character of the Bible and the concerted blurring of fiction and actuality that marked much drama and narrative toward the close of the twentieth century.