A significant aspect of a performed text as an embodied form of entextualization --of creation of a text as a fluid entity-- seems to be the notion of a multiple authorship which in turn calls for a sensorial epistemology. The sonic dimension of this type of textuality --its phono-aesthetic, its cadence, possibly shaped the way the performance of song historically took place. Yet still, how can we meaningfully think in historical terms about a performed text? How can we go beyond the dimension of representation? How are we to understand the relationship between the embodied text and its literary figurations/processes? These are some of the questions we want to address by way of exploring the idea that we might be looking at forms of texts that share a trans-medial nature, a co-presence, in time, of different "infrastructures" and technologies, of different media.

We propose to think of trans-medial textualities as linguistic productions that rely on oral, written, and embodied protocols of creation and reception and are transmitted through different media — understood as technologically supported instruments of inscription, figuration, and communication.