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In the extensive research on artists' signatures, little attention has been paid to their material, topological, and praxeological dimensions. This volume proposes a shift in focus from the texts themselves to how their effects and practices relate to the category of presence. It examines the cross-cultural relationships between text, writing, material, technique, and image, as well as the sacred and profane activities in which signed artifacts were involved. The unique potential of signatures becomes clear in the way they assert presence: they can invite contemplation and use and can combine this with self-reflection and interaction, often playing with the viewer, not least by addressing the materials and techniques that give the artefact its appearance.

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