The sceptics argue that a border persists between the textual and the visual in the new hypertext art. This critical position results not only from the empirical experience of a perceptive user of hypertext, but also from the need to promptly and at least partially address the problem of interpretation of textual and visual segments of literary projects received in an electronic environment without the authority of the traditional dichotomy between the textual and the visual. It seems problematic to ask whether the reader/user perceives textual segments in the new digital medium according to the conventions received from the culture of printed text and the visual segments according to the tradition of visual art, or differently. We could ask whether there exists an assumption according to which a reflective user could achieve 'high focus' on perceived textual and visual segments. Our working explanation of 'high focus' is based on the idea that 'high focus' results from the cooperation of information received at the same time by verbal and visual information channels. The authoress demonstrates the phenomenon of 'high focus' in fine art in the context of 'ecphrasis' and 'subversive ecphrasis' in the work with 'semantic enclave' (Snezna sova by Purkyne) by building on the project Shredder by M. Napier. The analysis confirms the argument by Didi-Huberman that visuality is a phenomenon that complicates the epistemological status of an image.
Financed by the National Centre for Research and Development under grant No. SP/I/1/77065/10 by the strategic scientific research and experimental development program:
SYNAT - “Interdisciplinary System for Interactive Scientific and Scientific-Technical Information”.