Hyperlink. In some hypertext, hyperlinks can be bidirectional: they can be followed in two directions, so both ends act as anchors and as targets. More complex arrangements exist, such as many-to-many links. The effect of following a hyperlink may vary with the hypertext system and may sometimes depend on the link itself; for instance, on the World Wide Web, most hyperlinks cause the target document to replace the document being displayed, but some are marked to cause the target document to open in a new window. Another possibility is transclusion, for which the link target is a document fragment that replaces the link anchor within the source document.
Not only persons browsing the document follow hyperlinks; they may also be followed automatically by programs. A program that traverses the hypertext, following each hyperlink and gathering all the retrieved documents is known as a Web spider or crawler. Types of links[edit] Inline links[edit] Anchor[edit] Hyperlinks in various technologies[edit] Hyperwords. Hyperwords was a term for interactive text.
Whereas hyper-links have the specific meaning of words which are linked to specific destinations, hyperwords refers to all interactive words where the idea is that the reader can issue commands on the text. The project is now referred to as liquid information interactive text, dropping the hyper prefix which was used to work with the hyper prefix for hypertext and using the more general name of interactive text, produced by the Liquid Information Company. The Hyperwords Project grew out of a research project at University College London and is now a developed and maintained by The Hyperwords Company Ltd in London, UK.
Frode Hegland heads the company with development teams in Russia and Germany. The Hyperwords Company changed name to The Liquid Information Company in 2012. References[edit] External links[edit] Hyperwords Home page. Hypertextuality. The word was defined by the French theorist Gérard Genette as follows "Hypertextuality refers to any relationship uniting a text B (which I shall call the hypertext) to an earlier text A (I shall, of course, call it the hypotext), upon which it is grafted in a manner that is not that of commentary. "[2] So, a hypertext derives from hypotext(s) through a process which Genette calls transformation, in which text B "evokes" text A without necessarily mentioning it directly.
Hypotext may of course become original text in its own right.[3] The word has more recently been used in extended ways, for example, Adamczewski suggests that the Iliad was used as a structuring hypotext in Mark's Gospel.[4] Jump up ^ Martin, Bronwen (2006). Key Terms in Semiotics. Paratext. The concept of paratext is closely related to the concept of hypotext, which is the earlier text that serves as a source for the current text. Theory[edit] References[edit] Jump up ^ Genette Paratexts: Thresholds of Interpretation page 1 Bibliography[edit] Genette, Gérard: Seuils. Paris: Éditions du Seuil, 1987. Intertextuality. Intertextuality is the shaping of a text's meaning by another text. Intertextual figures include: allusion, quotation, calque, plagiarism, translation, pastiche and parody.[1][2][3] An example of intertextuality is an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. Intertextuality and poststructuralism[edit] More recent post-structuralist theory, such as that formulated in Daniela Caselli's Beckett's Dantes: Intertextuality in the Fiction and Criticism (MUP 2005), re-examines "intertextuality" as a production within texts, rather than as a series of relationships between different texts.
Some postmodern theorists [7] like to talk about the relationship between "intertextuality" and "hypertextuality"; intertextuality makes each text a "living hell of hell on earth" [8] and part of a larger mosaic of texts, just as each hypertext can be a web of links and part of the whole World-Wide Web. Competing terms[edit] See also[edit] Illustration. Illustrations are often carried out as a large-scale industrial process, and is an essential part of publishing and transaction printing.
People strolling by the banks of the River Thames. Illustration beats explanation. Western Engraving & Colortype Co. History[edit] Medieval codices' illustrations were called illuminations. Johannes Gutenberg invented the printing press and independently developed a movable type system in Europe, along with innovations in casting the type based on a matrix and hand mould. He also added illustrations to his printed books, usually woodcuts. Early to mid 19th Century[edit] Golden age of illustration[edit] The American "golden age of illustration" lasted from the 1880s until shortly after World War I (although the active career of several later "golden age" illustrators went on for another few decades).
Technical illustration[edit] Illustration of a drum set Illustration art[edit] William Blake, Oberon, Titania and Puck with Fairies Dancing (1786) See also[edit] Graphic design. Graphic design is the methodology of visual communication, and problem-solving through the use of type, space and image. The field is considered a subset of visual communication and communication design, but sometimes the term "graphic design" is used interchangeably with these due to overlapping skills involved. Graphic designers use various methods to create and combine words, symbols, and images to create a visual representation of ideas and messages. A graphic designer may use a combination of typography, visual arts and page layout techniques to produce a final result. Graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated. History[edit] Page from the Book of Kells: Folio 114v, Decorated text. Tunc dicit illis The advent of printing[edit] During the Tang Dynasty (618–907) between the 7th and 9th century AD, wood blocks were cut to print on textiles and later to reproduce Buddhist texts.
Hyperwords. Cybertext. Cybertext is the organization of text in order to analyze the influence of the medium as an integral part of the literary dynamic, as defined by Espen Aarseth in 1997. Aarseth defined it as a type of ergodic literature. Definition[edit] Overview[edit] Cybertext is based on the idea that getting to the message is just as important as the message itself. In order to obtain the message work on the part of the user is required. This may also be referred to as nontrivial work on the part of the user.[2] The fundamental idea in the development of the theory of cybernetics is the concept of feedback: a portion of information produced by the system that is taken, total or partially, as input. Aarseth's concept of cybertext focuses on the organization of the text in order to analyze the influence of the medium as an integral part of the literary dynamic. Application[edit] Examples[edit] An example of a cybertext is 12 Blue by Michael Joyce.
See also[edit] References[edit] External links[edit] Hypermedia. Hypermedia, an extension of the term hypertext, is a nonlinear medium of information which includes graphics, audio, video, plain text and hyperlinks. This contrasts with the broader term multimedia, which may include non-interactive linear presentations as well as hypermedia. It is also related to the field of electronic literature. The term was first used in a 1965 article by Ted Nelson.[1] The World Wide Web is a classic example of hypermedia, whereas a non-interactive cinema presentation is an example of standard multimedia due to the absence of hyperlinks. Hypermedia development tools[edit] Hypermedia applications may be developed on embedded devices for the mobile and the digital signage industries using the Scalable Vector Graphics (SVG) specification from W3C (World Wide Web Consortium).
Hyperlinks may also be added to data files using most business software via the limited scripting and hyperlinking features built in. Hypermedia and learning[edit] Cultural references[edit] Metamedia. As coined in the writings of Marshall McLuhan, metamedia referred to new relationships between form and content in the development of new technologies and new media.[1] McLuhan's concept described the totalizing effect of media. In the late 20th and early 21st centuries, the term was taken up by writers such as Douglas Rushkoff and Lev Manovich. Contemporary metamedia, such as at Stanford, has been expanded to describe, "a short circuit between the academy, the art studio and information science exploring media and their archaeological materiality.
"[2] Metamedia utilizes new media and focuses on collaboration across traditional fields of study, melding everything from improvisational theatre and performance art, to agile, adaptive software development and smart mobs. Development[edit] While hypermedia was coined a year later in 1965 by a programmer to refer to file systems of multimedia, the term metamedia was coined in 1964, referring to the theoretical effects of mass media. [edit]