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On Links To Be: Exercises in Style #2
Abstract
This contribution extends the discussion of the types and uses of links bootstrapped by Mason and Bernstein\'s “On Links: Exercises in Style”, focusing on how authors use marginalia and annotations as links to the future. We argue that the development of a common semantics of “links to be” is needed in order to systematise individual authorial practices, provide greater interpretive understanding for readers and enable the development of new tools. We present examples on different types of annotations from the Holographic Vernon Lee project and provide our own exercises to formulate a preliminary framework of links to be.
In this chapter, the author presents practical discussions of digital technologies as applied to Melville. Computation involves calculations based on human constructions; some new media theorists have even suggested that computer programming languages are a form of literature or craft. The modern day software program consists of linguistic instructions that translate into machine code rendered into binary digits (0s and 1s). Melville engaged with computing as a concept of calculation. Melville's cognitive and aesthetic plasticity shows in his reckonings, in the double sense of counting (quantification and pattern‐seeking) and accounting (narration and reflection). Melville's fascination with reckoning and craft also reveals a penchant for computing and meditating about death. Creating machine readable scholarly documents can generate new research questions, models, and conceptual metaphors. Even with the digital tools available to a twenty‐first‐century scholar, some textual problems seem incomputable.
Publishing Scholarly Editions offers new intellectual tools for publishing digital editions that bring readers closer to the experimental practices of literature, editing, and reading. After the Introduction (Section 1), Sections 2 and 3 frame intentionality and data analysis as intersubjective, interrelated, and illustrative of experience-as-experimentation. These ideas are demonstrated in two editorial exhibitions of nineteenth-century works: Herman Melville's Billy Budd, Sailor, and the anti-slavery anthology The Bow in the Cloud, edited by Mary Anne Rawson. Section 4 uses pragmatism to rethink editorial principles and data modelling, arguing for a broader conception of the edition rooted in data collections and multimedia experience. The Conclusion (Section 5) draws attention to the challenges of publishing digital editions, and why digital editions have failed to be supported by the publishing industry. If publications are conceived as pragmatic inventions based on reliable, open-access data collections, then editing can embrace the critical, aesthetic, and experimental affordances of editions of experience.
How can computational methods illuminate the relationship between a leading intellectual, and their lifetime library membership? We report here on an international collaboration that explored the interrelation between the reading record and the publications of the British philosopher and economist John Stuart Mill, focusing on his relationship with the London Library, an independent lending library of which Mill was a member for 32 years. Building on detailed archival research of the London Library’s lending and book donation records, a digital library of texts borrowed, and publications produced was assembled, which enabled natural language processing approaches to detect textual reuse and similarity, establishing the relationship between Mill and the Library. Text mining the books Mill borrowed and donated against his published outputs demonstrates that the collections of the London Library influenced his thought, transferred into his published oeuvre, and featured in his role as political commentator and public moralist. We reconceive archival library issue registers as data for triangulating against the growing body of digitized historical texts and the output of leading intellectual figures. We acknowledge, however, that this approach is dependent on the resources and permissions to transcribe extant library registers, and on access to previously digitized sources. Related copyright and privacy restrictions mean our approach is most likely to succeed for other leading eighteenth- and nineteenth-century figures.
Links are the most important new punctuation mark since the invention of the comma, but it has been years since the last in-depth discussions of link poetics. Taking inspiration Raymond Queneau'sExercices De Style, we explore the poetics of contemporary link usage by offering exercises in which the same piece of text is divided and linked in different ways. We present three different exercises---varying the division of a text into lexia, varying links among lexia, and varying links within lexia---while pointing toward potential aesthetic considerations of each variation. Our exercises are intended descriptively, not prescriptively, as a conversational starting point for analysis and as a compendium of useful techniques upon which artists might build.
In the realm of computer support for design, developers have focused primarily on power and expressiveness that are important in framing a design solution. They assume that design is a series of calculated steps that lead to a clearly specified goal. The problem with this focus is that the resulting tools hinder the very process that is critical in early phases of a design task; the reflection-in-action process [15]. In the early phases, what is required as the most important ingredient for a design tool is the ability to interact in ways that require as little commitment as possible. This aspect is most evident in domains where two dimensions play a role, such as sketching in architecture. Surprisingly, it is equally true in linear domains such as writing. In this paper, we present our approach of using two-dimensional positioning of objects as a means for reflection in the early phases of a design task. Taking writing as an example, the ART (Amplifying Representational Talkback) system uses two dimensional positioning to support the early stages of the writing task. An eye-tracking user study illustrates important issues in the domain of computer support for design.
Sculptural hypertext is proposed as an alternative domain for hypertext writing, proceeding chiefly by the removal of links rather than by adding links to an initially unlinked text. Relatively little is known about authoring sculptural hypertexts. This paper examines some issues that arise in the course of composing sculptural hypertexts and proposes tools which might help support such designs.
When readers jot down notes in their books, they reveal something of themselves—what they believe, what amuses or annoys them, what they have read before. But a close examination of marginalia also discloses diverse and fascinating details about the time in which they are written. This book explores reading practices in the Romantic Age through an analysis of some 2,000 books annotated by British readers between 1790 and 1830. This period experienced a great increase in readership and a boom in publishing. The book shows how readers used their books for work, for socializing, and for leaving messages to posterity. It draws on the annotations of Blake, Coleridge, Keats, and other celebrities as well as those of little known and unknown writers to discover how people were reading and what this can tell us about literature, social history, and the history of the book.
This books ushers in a new way of talking about social phenomena. It develops an ontology of social objects on the basis of the claim that registration or inscription-the leaving of a trace to be called up later-is what is most fundamental to them. In doing so, it systematically organizes concepts and theories that Ferraris's predecessors-most notably Derrida, in his project of a positive grammatology-left in an impressionistic state. Ferraris begins by redefining ontology as a way of cataloguing the world. Before any epistemology can discuss the validity of scientific or nonscientific judgments, one faces a collection of objects, be they natural, ideal, or social. Among these, Ferraris focuses on social objects, elaborating a theory of experience in the social world that leads him to define social objects as "inscribed acts." He then uses this notion to interpret social phenomena, also in light of a systematic discussion of the concept of performatives, from Austin to Derrida and Searle. Moving into considerations of the present technological revolution, Ferraris develops a "symptomatology of the document" that leads to a consideration of legal systems, finding in them original applications for his theory that an object equals a written act. Written in an easy, often witty style, Documentality revises Foucault's late concept of the "ontology of actuality" into the project of an "ontological laboratory," thereby reinventing philosophy as a pragmatic activity that is directly applicable to our everyday life.
Interactive Digital Storytelling is a diverse field, with a variety of different tools and platforms, many of them bespoke. Understanding how these tools effect the stories created using them would allow authors to better select tools for projects, and help developers understand the consequences of their design decisions. We present an initial exploration of this question, using a critical reflection method to analyze the process of adapting a story from StoryPlaces into both Twine and Inform 7. We report four significant differences that posed challenges for adaptation: support for rewinding and/or revisiting, the definition and description of locations, the way in which text is delivered to the reader, and how navigational cues are provided to help readers progress the story. Our observations show that tools impact the stories created using them in ways that are not obvious when working with one platform alone.
The essay is a study of how critical editions work, whether in paper-based forms or in electronic forms. The first section – more than half the essay – gives a close examination to J. C. C. Mays’s superb recent (Bollingen) edition of Coleridge’s poetry. This analysis establishes the terms for investigating the opportunities that digital technology supplies for scholars pursuing a close study of the socio-historical character of literary works. This investigation pivots around the seminal work of D. F. McKenzie, whose theory of the social-text edition argues for a more comprehensive kind of editorial method. This essay argues that the method can be best realized through digital resources. It concludes with a discussion of The Rossetti Archive as a “proof of concept” experiment to test the social-text approach to editorial method.
Location based narratives are an emerging form of digital storytelling that use location technologies to trigger content on smart devices according to a user's location. In previous work on the Canyons, Deltas and Plains (CDP) model we argued that they are best considered as a form of sculptural hypertext, but sculptural hypertext is a relatively unexplored medium with few examples, and limited critical theory. This means that there is little guidance for authors on what is possible with the medium, and no common authoring tools, both of which impede adoption and experimentation. In this paper we describe our work to tackle this problem by working with creative writing students to create 40 location based sculptural hypertexts using an approach similar to paper-prototyping, and then analysing these for common patterns (structures of nodes, rules, and conditions used for a poetic purpose). We present seven key patterns: Parallel Threads, Gating, Concurrent Nodes, Alternative Nodes, Foldbacks, Phasing, and Unlocking. In doing so we see some overlap with the patterns identified in traditional (calligraphic) hypertext, but in many cases these patterns are particularly suited to sculptural hypertext, and hint at a different poetics for the form. Our findings refine our original CDP model, but also present a starting point for educating writers on how to approach sculptural stories, and form a foundation for future location-based authoring tools.
The distinguished sociologist Richard Sennett here surveys major differences between earlier forms of industrial capitalism and the more global, more febrile, ever more mutable version of capitalism that is taking its place. He shows how these changes affect everyday life - how the work ethic is changing; how new beliefs about merit and talent displace old values of craftsmanship and achievement; how what Sennett calls "the spectre of uselessness" haunts professionals as well as manual workers; how the boundary between consumption and politics is dissolving. In recent years, reformers of both private and public institutions have preached that flexible, global corporations provide a model of freedom for individuals, unlike the experience of fixed and static bureaucracies Max Weber once called an "iron cage". Sennett argues that, in banishing old ills, the new-economy model has instead created new social and emotional traumas. Only a certain kind of human being can prosper in unstable, fragmentary institutions: the culture of the new capitalism demands an ideal self oriented to the short-term, focused on potential ability rather than accomplishment, willing to discount or abandon past experience. In a concluding section, Sennett examines a more durable form of self-hood, and what practical initiatives could counter the pernicious effects of 'reform'.
In a recent sale catalog, one bookseller apologized for the condition of a sixteenth-century volume as "rather soiled by use." When the book was displayed the next year, the exhibition catalogue described it as "well and piously used [with] marginal notations in an Elizabethan hand [that] bring to life an early and earnest owner"; and the book's buyer, for his part, considered it to be "enlivened by the marginal notes and comments." For this collector, as for an increasing number of cultural historians and historians of the book, a marked-up copy was more interesting than one in pristine condition. William H. Sherman recovers a culture that took the phrase "mark my words" quite literally. Books from the first two centuries of printing are full of marginalia and other signs of engagement and use, such as customized bindings, traces of food and drink, penmanship exercises, and doodles. These marks offer a vast archive of information about the lives of books and their place in the lives of their readers. Based on a survey of thousands of early printed books, Used Books describes what readers wrote in and around their books and what we can learn from these marks by using the tools of archaeologists as well as historians and literary critics. The chapters address the place of book-marking in schools and churches, the use of the "manicule" (the ubiquitous hand-with-pointing-finger symbol), the role played by women in information management, the extraordinary commonplace book used for nearly sixty years by Renaissance England's greatest lawyer-statesman, and the attitudes toward annotated books among collectors and librarians from the Middle Ages to the present. This wide-ranging, learned, and often surprising book will make the marks of Renaissance readers more visible and legible to scholars, collectors, and bibliophiles.
Reflection, interpretation, and curation play key roles in learning, creativity, and problem solving. Reflection means looking back and forward among building blocks constituting a space of ideas, contextualizing with processes including tasks, activities, and one's internal thinking and meditating, and deriving new understandings, known as interpretations. Curation, in the digital age, means searching, gathering, collecting, organizing, designing, reflecting on, and interpreting information.
We introduce rich bookmarks, representations of key ideas from documents as navigable links that integrate visual clippings and rich semantic metadata. We support curating rich bookmarks as information composition. In this holistic visual form, curators express relationships among curated elements through implicit visual features, such as spatial position, color, and translucence.
We investigated the situated context of a university course, engaging educators in iterative co-design. Rich bookmarks emerged in the process, motivating changes in pedagogy and software. Changes provoked students to collect more novel and varied ideas. They reported that curating rich bookmarks as information composition helped them reflect, transforming prior ideas into new ones. The visual component of rich bookmarks was found to support multiple interpretations; the semantic to support associational exploration of related ideas.
The apparent unruliness of contemporary hypertexts arises, in part, from our lack of a vocabulary to describe hypertext structures. From observation of a variety of actual hypertexts, we identify a variety of common structural patterns that may prove useful for description, analysis, and perhaps for design of complex hypertexts. These patterns include: Cycle Counterpoint Mirrorworld Tangle Sieve Montage Split/Join Missing Link Feint
KMS is a commercial hypermedia system developed by Knowledge Systems for networks of heterogeneous workstations. It is designed to support organization-wide collaboration for a broad range of applications, such as electronic publishing, software engineering, ...
Annotation is a key way in which hypertexts grow and increase in value. This paper first characterizes annotation according to a set of dimensions to situate a long-term study of a community of annotators. Then, using the results of the study, the paper explores the implications of annotative practice for hypertext concepts and for the development of an ecology of hypertext annotation, in which consensus creates a reading structure from an authorial structure. KEYWORDS: annotation, study, spatial hypertext, readingoriented systems, consensus. INTRODUCTION Annotation is a fundamental aspect of hypertext. In theory, hypertexts grow and change by way of addition -- readers respond to hypertexts with commentary, make new connections and create new pathways, gather and interpret materials, and otherwise promote an accretion of both structure and content. In so doing, they crucially augment an existing body of interrelated materials. The foundational work in our field arises from such an ...
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