In a review of Graham’s Magazine published in the March 1, 1845 issue of The Broadway Journal, Edgar Allan Poe predicted of magazine literature, “[i]n a few years its importance will be found to have increased in geometrical ratio” because “[t]he whole tendency of the age is Magazine-ward.” Busy mid-century readers, speeding along in “the rush of the age,” required a medium that kept pace. “We now demand the light artillery of the intellect,” Poe insisted: “we need the curt, the condensed, the pointed, the readily diffused – in place of the verbose, the detailed, the voluminous, the inaccessible.”1 It can be difficult to pin down how seriously Poe took such declarations. Praise and ironic critique intertwine in his critical writings, as in subsequent paragraphs of this review, where he describes the engraving “Dacota Woman and the Assiniboin Girl” as “worthy of all commendation,” while another engraving in the same issue, “The Love Letter,” “has the air of having been carved by a very small child, with a dull knife, from a raw potato.”2 If Poe marks a genuine trend toward periodical forms of literature in the period, he also stages an ambiguous response to the trend, vacillating between praise and condemnation.

With the rise of digital technologies the number and diversity of related tools (such as phones, computers, 3-D printers, etc.) have markedly increased. This chapter examines how digital objects and other new technologies alter human experiences with the material world.