Increasingly, reading and writing take place in front of the computer screen, and the expectations concerning new forms of interaction with data storage and access are high. Computer-mediated communication in particular and screen media in general seem to put into question what older institutions and archives had to offer (the university?). But 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. Such threats of disappearance tend to lead to symptomatic cultural formations ("screen memory"). 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. 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 cultural production and reception.