Designing the printed book as an interactive environment

Reading a book demands a certain level of interaction from the reader. The cover must be opened and pages turned to navigate the information inside. Conventions have been developed over the life of the book to assist the reader in this navigation and provide orientation. The evolution of electronic reading material has given readers greater opportunities for interacting with their reading material, but many readers still prefer reading from a printed book. This paper investigates how the interactive organizational paradigm of hypertext can be implemented in a printed book to give the reader the opportunity for greater interaction and benefit from some of the advantages that electronic reading environments provide. The investigation in this paper follows an iterative design process in consultation with a panel of four experts. Through four rounds of consultation and refinement two potential solutions were developed for the incorporation of hypertext methods in a printed book

Textual Space and Metafiction in Mark Z Danielewski's House of Leaves

The thesis presents an argument that through employing metafictional techniques, experimentation with textual and graphic space and allusions to hypertextual devices, Mark Z. Danielewski's House of Leaves seeks to remind the reader of the presence of the book in print fiction. Danielewski dispenses with traditional textual formats in order to provoke the reader to realise the presence of the physical book in their hands. This is mirrored in the narrative as two of the main characters both obtain a copy of the very same book that the reader is holding. The author employs metafictional characteristics such as characters that acknowledge their fictional status whilst writing a book within a book. The first chapter of the thesis examines the potential of metatexts and criticism in the twenty-first century and a questioning of its continued relevance. Danielewski challenges textual space that potentially distances the reader from the narrative. There is an overwhelming amount of blank space in the text where there could have been narrative. The reader is told on several occasions that parts of the narrative are missing. Chapter Two is concerned with references to the book and the unconventional page aesthetics that encourage the reader to initially look at the page before actually 'looking through the page'. The final chapter compares House of Leaves with the hypertext fictions that it so often mirrors. The two forms of literature, whilst initially seeming quite different are actually very similar in narrative and form. House of Leaves appears to draw on some of the conventions associated with hypertext fiction in order to provide the reader a more active role in the reading of the text, whilst allowing them to understand the conventions of the writing. The experimentation with conventional textual space, metatextual techniques and references to electronic literature in House of Leaves challenge the nature of the physical book and its presence in contemporary prose fiction

Making a case for interactive texts in language learning and teaching

Hypertext has become a common reference point for CALL applications and hyperfiction is on the verge of becoming one too, it might be useful to briefly point out some of the major critical aspects of our current understanding of those terms

Exploring (the poetics of) strange (and fractal) hypertexts

The ACM Hypertext conference has a rich history of challenging the node-link hegemony of the web. At Hypertext 2011 Pisarski [12] suggested that to refocus on nodes in hypertext might unlock a new poetics, and at Hypertext 2001 Bernstein [3] lamented the lack of strange hypertexts: playful tools that experiment with hypertext structure and form. As part of the emerging Strange Hypertexts community project we have been exploring a number of exotic hypertext tools, and in this paper we set out an early experiment with media and creative writing undergraduates to see what effect one particular form – Fractal Narratives, a hypertext where readers drill down into text in a reoccurring pattern – would have on their writing. In this particular trial, we found that most students did not engage in the structure from a storytelling point of view, although they did find value from a planning point of view. Participants conceptually saw the value in non-linear storytelling but few exploited the fractal structure to actually do this. Participant feedback leads us to conclude that while new poetics do emerge from strange hypertexts, this should be viewed as an ongoing process that can be reinforced and encouraged by designing tools that highlight and support those emerging poetics in a series of feedback loops, and by providing writing contexts where they can be highlighted and collaboratively explore

A Typographic Dilemma: Reconciling the old with the new using a new cross-disciplinary typographic framework

Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography is taking from its traditional print medium. Screen-based typography is becoming as common and widely used as its print counterpart. It is now timely to re-evaluate current typographic references and practices under these environments, which introduces a new visual language and form. This paper will attempt to present an alternate typographic framework to address these growing changes by appropriating concepts and knowledge from different disciplines. This alternate typographic framework has been informed through a study conducted as part of a research Doctorate in the School of Design at Northumbria University, UK. This paper posits that the current typographic framework derived from the print medium is no longer sufficient to address the growing differences between the print and screen media. In its place, an alternate cross-disciplinary typographic framework should be adopted for the successful integration and application of typography in screen-based interactive media. The development of this framework will focus mainly on three key characteristics of screen-based interactive media ¬¬– hypertext, interactivity and time-based motion – and will draw influences from disciplines such as film, computer gaming, interactive digital arts and hypertext fictions

Development of multiple media documents

Development of documents in multiple media involves activities in three different fields, the technical, the discoursive and the procedural. The major development problems of artifact complexity, cognitive processes, design basis and working context are located where these fields overlap. Pending the emergence of a unified approach to design, any method must allow for development at the three levels of discourse structure, media disposition and composition, and presentation. Related work concerned with generalised discourse structures, structured documents, production methods for existing multiple media artifacts, and hypertext design offer some partial forms of assistance at different levels. Desirable characteristics of a multimedia design method will include three phases of production, a variety of possible actions with media elements, an underlying discoursive structure, and explicit comparates for review

Trail records and navigational learning

An emerging wave of 'ambient' technologies has the potential to support learning in new and particular ways. In this paper we propose a 'trail model' of 'navigational learning' which links some particular learning needs to the potentialities of these technologies. In this context, we outline the design and use of an 'experience recorder', a technology to support learning in museums. In terms of policy for the e-society, these proposals are relevant to the need for personalised and individualised learning support