 Apart from these important continuities, the media theorist’s inference from translatability to medium-free art simply does not hold. That we could set about “translating” the imagery of Citizen Kane into a symphony does not mean that the original artwork lacks a medium; it is a movie, after all, and as such, it has to be in the medium of moving images. The symphonic translation of Citizen Kane is not the same work as the 1941 movie by Orson Welles. This reminds us that, in deciding whether there is a digital medium, we must not reduce the medium to the artist’s materials, for it also matters how the artist uses those materials. Nor must we limit the constitutive materials of a medium to physical materials. The case of literature shows that neither the materials of an art form, nor their modes of manipulation, need be physical. The medium of literature is neither paper and ink nor abstract lexical symbols, but letters and words used in certain ways. There are, of course, many different ways of physically storing and transmitting literary works, including by the printed page, in audio recordings, and by memory (human or computer). But from the fact that The Tale of Two Cities can be preserved in many different formats, it does not follow that this novel is any less decisively a novel and, as such, in the medium of literature.