Since it works primarily with digital files that are easy to revise, the talahardin emphasizes process more than product. We can even say that the talahardin itself is a process rather than a solid thing. In other words, The talahardin is a draft.
Change is the dominant principle that runs the talahardin. Both the files it houses and the code that runs it is changeable.
The talahardin is partial to the value not only of the changes that goes through the processes inherent in a writing life but also sharing this progress to the public. To help the public understand the process, it is necessary for the talahardin to be fragmentary by design.
However, not all writing follows this principle. In fact, the dominant standard in today’s literary world is wholeness and finality. This partiality to wholeness and finality is weird since art is never finished.
Scandura, Jani. “The Matter of Drafts.” Oxford Research Encyclopedia of Literature, edited by Paula Rabinowitz, Oxford University Press, 2020. DOI.org (Crossref), https://doi.org/10.1093/acrefore/9780190201098.013.205
“electronic texts must be seen as process more than as solid-state or as anything—another great imprecision—merely virtual.”
“Electronic texts are the results of many different layers of instructions rendered in code,” and are “dynamic, changeable at multiple levels,”
18th century writers “came to see greater value in the process of thinking through a problem and making public the growth and changes in their understanding.”
“the works of the ancients have become fragments; the works of moderns are fragments at their inception.”
The concern with process rather than product finds an aesthetic expression in English Romantic poetry, in which the fragment becomes a “peculiarly” representative form.