Hypertext, Books and Death

Every fire needs a little kindling. Photo: Alienratt

Today’s symposium yielded a number of very relevant and intriguing discussion points. Elliot, Brian and Adrian provided some concrete knowledge from different perspectives regarding the nature of hypertext in itself. Brian’s point on hypertext not being a new “idea” but simply making used of pre-existing technologies, I felt, was an essential component of putting hypertext into context alongside the relevant theory we have explored in this subject and others. It is also important to note that hypertext interacts with different media mediums differently, and different forms work more effectively with different modes and mediums than others. I found Adrian’s link to Wolfgang Ernst’s idea of hypertext being more relative to music than print media to be an interesting perspective that helped to understand the very essence of hypertext and it’s relation to other media formats.

Jasmine reinforced for me the ideas that I expressed in my blog assessment essay – that blogging can be relevant if no-one reads it, given that the space is used appropriately for reflection and critical analysis and noting of one’s own practices and behaviours. It is also a great way to practice writing, and more specifically as Adrian noted, as a way of practicing writing to a speculative audience. When you start to write something good, the audience will come, as long as you put it out there and perform the appropriate transactions – links.

Onto one of my favourite moments for the lecture, being the morbid and often frightening discussion of death. More specifically, the death of books. Adrian raised good points, in that books are now only important because of their relationship with literature, and that in one sense, books are dead (look at how many textbooks, manuals, cookbooks, etc that are online, or e-books instead of physical books). In this sense, the equation and balance between convenience and experience have to be measured. For something like a manual or a textbook, or an academic essay the ease of access and convenience comes first. Even perhaps, for literature and fiction convenience may come first. But for those with interests closely tying into the experience that a book provides, the book is still very relevant. Personally, I like nothing more than to relax and read a good book, made of fine quality paper, with a nice leather binding and crisp pages. The experience is too rewarding for me to give that up. There’s also the collectors factor. I have books that I have collected not only because of the stories within, but because of the very object themselves too, being desirable.

On one final note I want to take a second to think about the health behind books and e-books. I for one, know that I sleep better after having read a book on paper, rather than screen. There’s plenty of evidence out there to suggest that screens do not allow your eyes to relax before sleep, which can significantly affect the effectiveness of your rejuvenation during sleep. Not only this, but as someone with poor sight, sometimes I struggle to focus on a screen. Paper holds the perfect contrast between black and white, but it is softer. It’s easier for my eyes to focus on, therefor the content of the read becomes more digestible.

With that, I can say that I’m a firm believer in books. But it’s also nice to be able to have a convenient portable version of a book. Maybe the book industry could take a page from the music industry and provide free e-book downloads with physical purchases. That’s something I would find very useful and could be a major factor in determining whether I buy a book or not. Is it economically viable for publishers? That’s not for me to know. Time to do some research.

 

Power to the People

www.worldwideweb.com Photo: Anna L. Schiller

Hypertext is a game-changer in the relationship between the author and the reader. Perhaps you could say it blends the line between the reader and the author, creating an author-reader out of the author and a reader-author our of the reader. Confusing, eh? Kind of. What we really need to affirm is the notion of narrative control and the linear arc of the narrative. In a sense, the reader writes their own story with the parts that are given to them. Each reading experience different to the next, it encourages deeper readings of the text, but at the same time pushes for open endedness as well as ambiguity. It’s up to the reader to create the relations between events, characters, places and items in the story. The linear pattern of the story still exists however, as George Landow states:

Linearity now becomes a quality of the individual reader and his or her experience in following a path

So it does not break away from the traditions of writing as such, rather it changes the way they interact and how they relate to the story. Not only this, but the relationship gets complicated with the addition of the machine itself, which can be programmed to guide the reader or control part of the hyper-textual reading experience. Of course some notions are entirely different from classical literature. And of course, no hypertext is the same, just as no reading of a specific hypertext is the same. Each hypertext can carry a different approach to writing and style, just like standard literature. Some hypertexts are more linear than others. Some have a defined beginning, and simply mould and morph to the readers interpretation during the middle of the text:

There is [in some writers] some obvious reluctance to disorientate readers upon their initial contact with the narrative.

So what do I like about Hypertext? From my short introduction to it (the subject requires more investigation), I can positively say that I enjoy the power that is given to the reader in terms of structuring the narrative and creating a story. What’s even better is the story’s powerful experience. It’s different every time you read it. I like that idea, it’s very ambiguous and open to interpretation. The draw backs? I think sometimes, ambiguity can be taken to extreme heights. Sometimes things are so open, that they just don’t have anything that is interesting at all. Perhaps it takes a more open mind. I guess it’s similar to some of those more artsy films. The kind that we spend semester one of cinema studies learning about. Sometimes, the boundaries are stretched to a point where it loses all art and skill. Although I guess there is a skill even, in trying to be as unskilled as possible. If that makes sense. What Ned says makes sense too.

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