Tied up around the issue of the matter of inscription, this research-creation study aims to understand how concrete realities interact and lead to the emergence of a cultural phenomenon in literature, i.e., how the literature phenomenon is a composition of mattering defined by the specifications of the support, whether we call it a medium, a machine or, more broadly, a writing environment. From the new information architecture embodied by the Codex, to the writing feather of Flaubert ritualized as a creative process, to the “delicate” typewriter of a soon blind Nietzsche, or the ambiguity of the terms computer and typewriter, which may refer both to the women who used specific machines and to the machines themselves, these echoes of a culture of literature all illustrate the importance of material incidences in writing and in the very act of inscription itself. Where does the determination of writing end? Where do we draw the line between it and the world beyond?

    in our formated frames, 
    our own practices, 
    or the way we look at things? 

With theoretical analysis and technical exploration, the writing mattering will be investigated from five angles, five extensions of a hand that seeks to grasp depth: factory, media, machine, page and matter. This thesis sets out a writing methodology that no longer distinguishes research from creation, redefining the outlines of literature phenomenon.