Reading as Cultural Construction
Embodied Reading
Space
Body
“Casting our eyes to the right, lo! like a flash of lightning the oft-mentioned and oft-to-be-mentioned holy city of Jerusalem shone forth. The part of it which we saw was that which adjoins the Mount Sion, and we saw the holy Mount Sion itself, with all its buildings and ruins. Above all we saw the citadel of Sion, fortified with exceeding strong walls and towers, in such a clear light that the lofty walls and towers of the citadel seemed to enclose the whole city, and the pilgrim, or stranger who had never seen Jerusalem could not but think that the walls of the citadel of Sion were the walls of Jerusalem, which however is not so. When we beheld with our eyes the long-desired holy city, we straightaway dismounted from our asses and greeted the holy city, bowing our faces to the earth . . . .”  - Felix Fabri
Between 1480 and 1483 a Dominican Friar named Felix Fabri wrote an account of his two pilrgimages to the Jerusalem.  Fabri’s detailed account of his second pilgrimage to Jerusalem (1483) contains long lists of places visited and practices observed in the performance of pilgrimage. 
Sound: The oldest and newest dimension in reading.
Information Rich Environments
Sacred Architecture
Pilgrimage
Manuscript
Frankenstein’s Monster Comes Home:
Digital Remix and the Ends of Origin
The anxiety of remix in the industrial age - related to the loss of aura, the failure of the 
orginal, has been part of the modern system since the 18th century. Prior to the rise of the modern individual, cultural production privilaged reworking rather than creation. Similar reworking modes can be found in contemporary digital textual production.
Performance
Collaborative
“The labours of men of genius, however erroneously directed, scarcely ever fail in ultimately turning to the solid advantage of mankind. ”
Mary Shelley, 'Frankenstein or the Modern Prometheus'
Frankenstein's monster can function as a metaphor for the anxiety felt around remix in modernity. Not only was Victor playing God (the 'Great Author' of an earlier epoch) in creating his own flawed Adam, but he was taking from nature and reworking it for his own misguided ends according to science.
A HUMUMENT by Tom Phillips 
1970, 1980, 1986, 1998 and 2004-
A form of inscription that is spatial, multi-temporal, performed, place-bound, visual, sonic, and navigated
Representation has become the domain of mediating objects, both virtual and physical, while reading is as much about arranging and appropriating as it is about reference, symbolism, iconography and interpretation. 
Selected Bibliography

Carrington, Blake. Cathedral Scan http://www.blakecarrington.com/016.php accessed 13 October 2011.

Bolter, Jay David. Windows and Mirrors: Interaction Design, Digital Art and the Myth of Transparency. Cambridge, Mass: MIT Press, 2003.
Bolter, Jay David, and Richard Grusin. Remediation: Understanding New Media. Cambridge, Mass: MIT Press, 2000.

Bourdieu, Pierre, and Roger Chartier"Reading literature/culture: a translation of "Reading as a Cultural Practice"". Todd W. Reeser (Trans) Style. FindArticles.com. 15 Oct, 2011. 

Friedberg, Ann. The Virtual Window: From Alberti to Microsoft. Cambridge, Mass: MIT Press, 2006.

Hayles, N. Katherine. Writing Machines. Cambridge, Mass. MIT Press. 2002.
-My Mother Was a Computer: Digital Subjects and Literary Texts. Chicago: University of Chicago Press, 2005
-“Narrative and Database: Natural Symbionts”, PMLA. Volume, 122. Issue, 5. Pages, 1603-1608. November 2007.

Kittler, Friedrich A. “The Perspective of Print”. Trans. Geoffrey Winthrop-Young and Michael Wutz. Configurations Volume 10, Number 1, pp. 37-50 Winter 2002.

Lefebvre, Henri. The Production of Space. London: Wiley-Blackwell, 1992.

Odin, Jaishree K. Hypertext and the female Imaginary. Minneapolis: University of Minnesota Press, 2010.

Shaw, Jeffrey. Sarah Kenderdine and Roderick Coover. ’Re-place: The Embodiment of Virtual Space’ in Switching Codes: Thinking Through Digital Technology in the Humanities and the Arts. 218-239. Thomas Bartscherer and Roderick Coover (Eds.) University of Chicago Press, Chicago, 2011.
Remix is the essential in digital inscription
As the byte and bit are the building blocks 
Digital
Production
Digital Reading
Changing Origins
Remix
Reading practices that are part of these works include physical and virtual transversal, mutation, avatar and bodily perspectives, performance, sampling, mapping, linking, layering, data entry, virtual objects, and depth.
Selavy: What happens when you write in a diary? Of course, some people write down “got up at 7am, drank a coffee, had lunch with Jim, went to bed early”, but that’s not the type of diary I’m referring to. It is rather the idea of keeping a record of selected thoughts, feelings, moods, ideas, etc. The important part is, of course, that you do that regularly. And that is exactly what I did in CONSTRUCT: I added one room each day. Every one of the 75 days of the residency has its own room, often relating to the topic of the residency itself, a time capsule of ideas, artifacts, or reference to other work. If you read a diary, you may get an idea about the writer and her life. If you visit CONSTRUCT, you may get an idea about Selavy Oh and her residency.
Memories you have never had, and a sense of nostalgia that ends when you leave the chamber result from the immersive experience of The Celebration. Such sensations are consistent with dreams. In dream states voluntary consciousness melds with our deepest sense of awareness. The traces of experience, the fears and desires, and the memories we retain (or bury) are brought to the experiential surface. In The Celebration images of archetypal situations (birthday parties, family gatherings, sports events), weave around the visitor, immersing him in an imagined past that is media.
Place
The standardization of media materials, based on digital code and the ability to ‘play god’ with texts is common today. With a basic knowledge of digital media, readers can remix sounds, images, spaces, characters and places in endless variations. This remix provokes questions regarding the nature of reading today. 
What Bourdieu calls a "structuralist reading, internal reading that considers the text in and of itself, produces it as self-contained and seeks its truth within itself, while taking no account of anything outside of it. This reading is a relatively recent historical invention that can be situated and dated (Cassirer links it to Schelling, inventor of the word tautegorical by opposition to allegorical). We are so used to this way of reading a text--one without reference to anything else--that we unconsciously universalize it, even though it is a relatively recent invention." (Bourdieu, Pierre, and Roger Chartier 2-3)
Imaginative work has an elective affinity with performance: It is organized as rhetoric and poiesis rather than exposition and information-transmission. Because this is so, it always lies open to deformative moves." (Jerome McGann, 113)
“Writing is still confined to the representational straitjacket of the novel ... consciousness is a cut up. Every time you walk down the street or look out of the window, your stream of consciousness is cut by random factors." William S. Burroughs 
(auctor and lector)
The in-world avatar is the embodiment of an interpreting agent in the virtual world. Such devices accomplish a number of functions in terms of the narrative realisation. The avatar contributes to the posthuman realisation of narrative through the navigation of the spatial attributes, the setting up of perspective in terms of Point of View (POV) in the reading, and the introduction of a character agent into the narrative architecture of the virtual world. Such a series of characteristics results in a cybernetic relationship between the virtual world, as a text, and its reception, interpretation and responses that can be offered to it. Such a relationship is based in the performative possibilities represented in the virtual world. Architecture becomes the grammar of reading in the virtual world, with design and code, copyright and the address of its objects and inhabitants, that which makes the narratives.
jim.barrett@humlab.umu.se
Authorship as a form of origin is now law. Narration, story, address, dialogue and characters are no longer the perogative of authors. They are the building blocks of narrative experience that can be passed into the hands of a person who then performs a story.
Origins of Change
Haptics are the touch related properties of digital texs. Games, electronic literature, apps and puzzles all exploit the ability of the medium to simulate touch and make it a meaningful part of representational space.
"Perhaps it is time to think the unthinkable - to posit a notion of 'text' 
that is not dematerialized and that does depend on the substrate in which
it is instantiated. Rather than stretch the fiction of dematerialization thinner
and thinner, why not explore the possibilities of texts that thrive on the 
entwining of physicality with information structure" 
Katherine Hayles, 'My Mother was a Computer', 102
Blake Carrington: Cathedral Scan / performance, album, installation / 2009-ongoing
"Visually, the scanning reveals the graphic structure. Smoke-like wisps appear and fade away as the scanners make each pass, suggesting a metaphor between architecture and ghost-like palimpsest. An empty white field surrounds each plan, placing them in a minimal landscape that is both flat and expansive." 
- Blake Carrington 
A Sonic Reading of Sacred Space