Link typology

The role of rhetoric in relation to link typologies is not grounded in the individual relations established between a single link (or even a multiheaded link) between two nodes, but is in fact determined much more substantially by the context provided by an autonomous segment developed across several nodes, and more specfically several links.

A distinction needs to be recognised between the quantity of nodes versus the quantity of links simply because a small number of nodes can produce a significant number of autonomous segments by virtue of a high incidence of linking.

Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts-Enter Jean-Philippe Pastor

Syntagmatic series

The consideration of hypertext structure as consisting of 'whole' syntagmatic series, which in turn become the paradigmatic sets available, has complex implications which require further research.

It would appear that the relation of one node to another, via a link, while significant, gains greater currency when considered from the point of view of a discrete syntagmatic segment (which could, in principle, consist of two nodes).

However, such an approach discounts the origin of the link in a manner that is probably untenable - in cinema this is irrelevant as the point of connection is the end of one shot and this is, currently, the only point of connection. Obviously a hypertext provides a point within a node from which connection is possible, and thus for a syntagmatic series to be formed, and so the relation of the link source to its destination also forms a syntagmatic series.

Download ebooks on http://www.frenchtheory.com/ - See that post with different algorithms in metabole - See the journal French Metablog with today different posts- PHONEREADER Library - - Jean-Philippe Pastor

The consideration of hypertext structure as consisting of 'whole' syntagmatic series, which in turn become the paradigmatic sets available, has complex implications which require further research.

It would appear that the relation of one node to another, via a link, while significant, gains greater currency when considered from the point of view of a discrete syntagmatic segment (which could, in principle, consist of two nodes). However, such an approach discounts the origin of the link in a manner that is probably untenable - in cinema this is irrelevant as the point of connection is the end of one shot and this is, currently, the only point of connection. Obviously a hypertext provides a point within a node from which connection is possible, and thus for a syntagmatic series to be formed, and so the relation of the link source to its destination also forms a syntagmatic series.

Download ebooks on http://www.frenchtheory.com/
See that post with different algorithms in metabole
See the journal French Metablog with today different posts

Hypertextual minimal unit

This is not particularly suprising as it is apparent that hypertextual fragments (nodes) can, like cinematic shots, be arranged in numerous sequences and that there is no intrinsic and necessary grammar to this (Miles, 1999).
An earlier emphasis on the cinematic nature of the connection between hypertext nodes (Miles, 1999), while important, does not provide an adequate account of the production of narrative (fiction or nonfiction) sequences in hypertext. Like the cinema, it is apparent that hypertext requires a minimal unit constituted by the set of nodes conjoined. That this has been the case in much extant hypertext fiction is clear. Such a process has been much less common in what has been routinely described as hypertext nonfiction.

Download ebooks on http://www.frenchtheory.com/
See that post with different algorithms in metabole
See the journal French Metablog with today different posts

Desire to link

There is some expression of force outside of the shot in the cinema's desire to cut the shot into fragments, and that a similar force is present in hypertext and expressed as a desire to link.

This 'force' is always outside of the shot, or the node, or the link. It is sought by the link, the link is an expression of appropriation of the force that writing and the link is a response to, but it is never adequate to this outside. Outsides remain, always, outside. Harpold's work on links and diversions - the manner in which links are always detours around what is sought, is extremely relevant here.

Adrian Miles: Hypertext syntagmas: cinematic narration with links

A performative hypertext presented by Journal of Digital Information

Download ebooks on http://www.frenchtheory.com/
See that post with different algorithms in metabole
See the journal French Metablog with today different posts

What is a node

Should be obvious that nodes are not reducible like words can. Of course a node can be reduced to its component parts (if they are thought of as writing) but that is hardly what constitutes the node. A node could just as easily contain a sound, a film, an image, a letter, or any combination of these.

Adrian Miles: Hypertext syntagmas: cinematic narration with links A performative hypertext presented by Journal of Digital Information

Autonomous segments

Hypertext, unlike traditional cinema, provides for nodes that can be reused, or reappear, in any particular pattern, and this practice of reuse or repetition is one of the principal methodologies employed in hypertext writing (and reading). This means, obviously, that the autonomous segments that can be formed in hypertext, while falling into many different types, also have the feature of a particular node or even minor series forming a significant part of a completely different autonomous segment.

Download ebooks on http://www.frenchtheory.com/
See that post with different algorithms in metabole
See the journal French Metablog with today different posts

Interactivity and Hypertext

In all cases of hypertextuality in Metabole, it is by using some hyperlinlinking functions that the user can "jump" from one node to another.

Then, we can extend the concept of interactivity, already utilized to describe one of the properties of a hypertextual page, to the whole hypertext. We can say that a hypertext is interactive because it allows the reader to choose for his or her own personal and often unique path of navigation through the nodes, and for the operations to carry out with the object-nodes present in each page-node.

Download ebooks on http://www.frenchtheory.com/

See that post with different algorithms in metabole

See the journal French Metablog with today different posts