Temporal dynamics in Hypertext

As Eskelinen points out, temporal dynamics may be either dependent on the reader's use of time, or independent of it. Using the categories defined in narratology as our starting point, Eskelinen outlines a list of simple functions that allow a very complex temporal manipulation of narrative digital texts. He also describes a set of authoring tools, Discourse Timer, which is specifically designed to employ these functions :

FROM SPATIALITY TO TEMPORALITY

"So far digital texts have been usually discussed in terms of hypertext, which is usually described as a spatial form of writing. Especially the literary-aesthetic discussion of hypertextuality has focussed on spatial practices.

Furthermore, much effort has been invested in studying the ways text links are employed in literary hypertexts. We take another approach, and emphasise the temporal organization and structuring of texts. So, text links are temporarily pushed to the margin, as we concentrate here on the ways the links and other aspects of digital texts may be pre-programmed.

That is, in addition to following Ted Nelson's lead and conceiving links as choices offered for the reader, we treat links as parts of the authored structure ".

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Labour time

Marx demonstrates that time is manifested in the material world through a process that expresses transhistorical features in the emanation of time through human creative activity, and historically specific elements in the socially constructed forms of time that reflect the material conditions of the particular society in which they appear.

It suggests, moreover, that he shows how time is shaped by both human agency, in the form of class struggle over the appropriation and control of time, as well by deterministic forces as seen in the role of institutional structures and the movement and reproduction of capital. Again, it endeavours to show that Marx develops the notion that absolute time, which is an historically specific concept, plays a crucial role in capitalist society as a measure of exchange-value and labour time, and that it co-exists with relative time, which emanates through different production processes as multiple and discontinuous temporalities.


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Hegel's interpretation of time

This a text from Mike Johnduff.


Division Two, Chapter Six, xvi... The extent to which an even more radical understanding of time than Hegel's makes itself evident in Kant, will be shown in the first division of the second part of this treatise.

The reference to the first division of the second part of course doesn't mean anything, because this portion was never published. I haven't read Heidegger's book on Kant yet, which is supposed to answer some of the issues that first division of the second part would have posed, but I'm just thinking now that, given Heidegger's interpretation of the historizing potential of Dasein, Kant would have a more radical understanding of time than Hegel.

Hegel reduces time down to history. And while Heidegger's view of time is probably closest to Hegel's with respect to the the degree to which he accords it importance and determining power over Being, Heidegger we know is farthest from Hegel in interpreting things as present-at-hand or as realized potentials, and thus might have more affinity with the indeterminate and yet primordial phenomenon of time in Kant.

That is, Hegel reduces time right down to the now, and then extends this now out to encompass history. Kant leaves time intederminate--it has no relation to history other than as the factor which makes it possible. Because it is a possibility or a categorical determinant of existence for Kant, then, it might be closer to the act of stretching-itself-along or temporalizing itself historically that Heidegger has in mind when he says Dasein historizes. And because this potential is so determinate yet not present-at-hand at all in Kant, it might then be said to be more "radical:" it hits more at the nature of temporality as it determines Being.

While Hegel gives time such an important place in its ability to detemine Being, he ultimately undoes this importance in making it something present-at-hand. Kant of course leaves time mostly unelaborated as a concept--that is, when compared to Hegel--but it remains less present-at-hand than in Hegel and thus more powerful.

Posted by Mike Johnduff


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Allegory and temporal sequence

According to Paul de Man, the Coleridgean symbol represents the "negative" moment of the romantic dialectic.

The positive moment is allegory, a system of signs in which the relation of a sign to signified is superseded by tile relation of signifier to signifier in a temporal sequence.

"Whereas the symbol postulates the possibility of an identity or identification, allegory designates primarily a distance in relation to its own origin, and, renouncing the nostalgia and the desire to coincide, it establishes its language in the void of this temporal difference".

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Time and allegory

According to Paul de Man, symbol is a feature of an art which attempts to transcend , avoid, or deny the inescapable fact of temporality in embodied human existence.

Allegory not only does not attempt to avoid temporality, it highlights human finitude.
In symbol, subject and object are a unity: "the symbol is founded on an intimate unity between the image that rises up before the senses and the suprasensory totality that the image suggests."

In allegory, subject and object are irreconcilably different and separate: "in the world of allegory, time is the originary constitutive category . . . . The meaning constituted by the allegorical sign can . . . consist only in the repetition . . . of a previous sign with which it can never coincide, since it is of the essence of this previous sign to be pure anteriority."

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Textual temporal dimension

Texts have essentially a temporal dimension.

You take in a painting in one glance, but you read a text over time; film in that sense is closer to text than painting, and the filmic term "montage" would be better for what happens when a text makes use of disparate, found, randomly combined elements. The only true "collage" effects in literature, i.e. the presentation in the same moment of perception of disparate materials would be certain "simultaneities," such as Dada and Merz and other, later sound-poets presented. (Landow 1999, p. 166.)

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Falling with Heidegger

Falling for Heidegger is the present state of dasein, which is wholly seen through the being-alongside of other daseins.

This being-with and alongside with makes up now choices and actions of entities. One acts a certain way, chooses a certain meaning of being for a certain point due to its relationship to "them."Because we are always falling, or fallen into "them," in to the "das man", the everyday man that we are and that we connect with.

Falling then is the third component that connects up with "existentiality" and "facticity" to form the temporality that provides dasein with the structure from which it discloses itself in average everydayness within the world .

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Time Line

Does hypertextuality conflict with the time line?

What is the natural length of the electronic narrative experience? Is it measured in seconds, minutes, or days?

Is the Flash workspace a stage, a page, or a camera lens?

What is a photographic style of writing? When does text become a graphic?

What does the third dimension add? Is the sound track really useful?

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Renouncing the nostalgia

Whereas the symbol postulates the possibility of an identity or identification, allegory designates primarily a distance in relation to its own origin, and renouncing the nostalgia and the desire to coincide, it establishes its language in the void of this temporal difference.

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

See that post with different algorithms in metabole

See the journal French Metablog with today different posts

Symbol and allegory

• According to Paul de Man, symbol is a feature of an art which attempts to transcend , avoid, or deny the inescapable fact of temporality in embodied human existence


• Allegory not only does not attempt to avoid temporality, it highlights human finitude.

In symbol, subject and object are a unity: "the symbol is founded on an intimate unity between the image that rises up before the senses and the suprasensory totality that the image suggests."

In allegory, subject and object are irreconcilably different and separate: "in the world of allegory, time is the originary constitutive category . . . . The meaning constituted by the allegorical sign can . . . consist only in the repetition . . . of a previous sign with which it can never coincide, since it is of the essence of this previous sign to be pure anteriority."

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

See that post with different algorithms in metabole

See the journal French Metablog with today different posts