Landow and the quality in hypertext

What is quality in hypertext?

How, in other words, do we judge a hypertext collection of documents (or web) to be successful or unsuccessful, to be good or bad as hypertext? How can we judge if a particular hypertext achieves elegance or just mediocrity? Those questions lead to another: what in particular is good about hypertext?

To answer these questions this paper proposes a number of basic rules, including (1) Individual lexias should have an adequate number of links, (2) Following links should provide a satisfying experience, (3) The pleasure of following links comes from a perception of coherence, (4) such coherence can take the form of analogy, (5) Individual lexias should satisfy readers and yet prompt them to want to follow additional links, (6) The document should exemplify true hypertextuality by providing multiple lines of organization, and (7) hyper-document should fully engage the hypertextual capacities of the particular software environment employed.

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Problem with semantic search

When applied to Internet searches, semantic technology delivers results oriented to what people seem to be seeking instead of simply matching words used to online content.

For example, a semantic online search for "melancholy songs with birds" would know to link sadness in lyrics with various species of birds.

Cognition's semantic map is already used in a LexisNexis Concordance "e-discovery" software to sift through documents amassed during evidence phases of trials.

"We help them find the needle in a haystack," Jarus from Cognition.com said.
"It used to be boxes and boxes of paper and now 80 percent of it is digital. Lawyers can search for a smoking gun within that discovery material."

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- Jean-Philippe Pastor

Categories for mining and objective world

It was Kant who pointed out that sensuous contact with the objective world did not of itself constitute experience, since without forms through which the sensuous contact with the world can be rationally understood, there can be no experience.

For example, a person totally untrained in geology learns nothing geological from a geological expedition.

The problem which Kant was unable to solve was the source of these categories which made possible the rational cognition of Experience. While recognising that it was the objective world beyond sensation which was the source of sensation, he restricted knowledge to the “possible objects of experience” and with the later positivists, rejected the possibility of knowledge of that “thing-in-itself” beyond experience.

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Semiotic experience

Passive reading, the desire to be surrounded by the text, is as close as reading can come to being a perceptual rather than a semiotic experience. The goal of passive reading is to forget oneself by identifying with the narrative world presented. In this sense passive reading is antireading, since true reading is an encounter with signs in which the reader continually asserts (and repeatedly loses) his or her independence of the text. Like reading technologies, the computer too can be used for antireading.

Isolated similarities

Metaphors are culturally-based, and define what those with certain assumptions and presuppositions find real.

The "isolated similarities" are indeed those created by metaphor, which simply create a partial understanding of one kind of experience in terms of another kind of experience. They are grounded in correlations within our experience.

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No objective world

Metaphors are much more powerful instruments in the eyes of Lakoff and Johnson.

Metaphors have entailments that organize our experience, uniquely express that experience, and create necessary realities. Lakoff and Johnson attacked the two commonly accepted theories of metaphor. Previous theories derive, they believe, from a naive realism that there is an objective world, independent of ourselves, to which words apply with fixed meanings. But the answer is not to swing to the opposite and embrace a wholly subjectivists view that the personal, interior world is the only reality. Metaphors, for Lakoff and Johnson, are primarily matters of thought and action, only derivatively of language. Metaphors are culturally-based, and define what those with certain assumptions and presuppositions find real. The "isolated similarities" are indeed those created by metaphor, which simply create a partial understanding of one kind of experience in terms of another kind of experience.

They are grounded in correlations within our experience.

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See that post with different algorithms in metabole

See the journal French Metablog with today different posts

Real-world hypertextual writing

When interpreting a system of signs, the audience will make a judgement about the modality of the whole, i.e. they will decide whether it is more likely to be fact or fiction, real or unreal.

It also refers to how the audience feels about the message's validity and reliability. Images with higher modality appear more real than those with a lesser modality. To make this calibration, the audience will draw on its collective experience and understanding of the real world and of the particular medium of communication being used. Hence, those who enter a cineplex or theatre are aware that the content of the system they are about to view will usually be delivered by actors. But, if an individual randomly switches channel on the television, the new set of signifers must be evaluated: does this appear to be live or recorded, are these people known to be actors or do they have real-world roles that would explain their presence on the television, what does the genre or format of the programme appear to be, etc?

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See that post with different algorithms in metabole

See the journal French Metablog with today different posts