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| a logic of space | ||||
Karin's hypertext effects a strong visual representation of what she sees as pop art's dominant themes. The selection of digital images, the ways in which the images are edited, and even the layout of the individual pages structure the reader's experience of the hypertext. The hypertext's relatively open layout (screenshot 3), with carefully positioned images and text, reveals the extent to which it creates a "logic of space" (Shauf, 2001).
Karin's hypertext has two general layouts. In one configuration, there is a central digital image of pop art with accompanying text to its right. Each main image becomes interactive through hover effects, and the ideas are largely conveyed by the images. Screenshot 4 illustrates one mouse-over effect built into the image of Hamilton's Interior II (1964). As the mouse arrow moves across Hamilton's (1964) painting, text appearing over the image adds complexity to the initial claim made in the text to the right of the image.
This configuration can hardly be considered "transparent" to readers of either print essays or hypertexts (Hocks, 2003). But the relative uniformity in layout and consistency in navigation enable the reader to quickly engage with it. The hover-effect found in screenshot 4 is but one example of a consistent effect at the center of the screen. While the specific action varies from node to node, design consistency enables the reader to become comfortable navigating the hypertext. Complementing this less immediately transparent layout is a second layout that develops more text-based claims. Karin | a logic of space, continued | argument via images | instant thesis
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abstract | background | theory | praxis | models | course
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& #808080: Hypertext Theory and WebDev in the Composition Classroom Michael J. Cripps, York College, City University of New York |
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