The transition from analog to digital media is perhaps too readily understood as a shift from continuity to fragmentation, from narration to archeology. One might instead view it as a process of translation, since what is completely untranslatable into new media will disappear as fast as what is utterly translatable. 1 Such threats of disappearance tend to lead to symptomatic cultural formations. 2 The implications of digitalization for learning and pedagogy are the topic of numerous scholarly efforts; the most widely used hypertextual systems seemed to bear witness to the creation of a "new economy:' But while some saw the Internet conquering the world, others formed their neo-Luddite resistance.3 Their discontent concerned not so much the machine as its purported effects. Both positions pivot on the same unquestioned assumption: that something irreversibly, incontrovertibly new is intruding on the turf of textual production and reception.