Max Dietz J8

            When I think of a hypertext, a “Choose your own Adventure” book comes to mind. This is also how Neal describes a hypertext on page 79 as  “Linked texts.” Before I begin to discuss the allowances of a hypertext, I must admit I do not fully understand the definition. Neal’s explanation makes sense in relation to modern connotations. What does not fit this image so easily is Stroupe’s definition. I do not see the relationship between “verbal and nonverbal information,” in the way it is described in the context of this paper at least. Unless the nonverbal information is the unwritten understanding between author and audience on how to use the text (i.e. proper use of a table of contents) the meaning eludes me and I would appreciate it if you would explain this in class. I see hypertexts having two main allowances. The first is the ability to elaborate without distraction. The second is to allow the audience a more interactive role with the text. The first point, elaboration, is a tool for the author. It relates more towards footnotes or literal hyperlinks on a Wikipedia article. Hyperlinks in this context let an author continue a stream of consciousness without interruption. Background or other relevant information can be linked and forgotten and not disturb the flow of the writing. This can decrease wordiness or length of the main text. The original example of a “Choose your own Adventure” book is a way the author utilizes the second point, audience interaction. This tool allows the author to relinquish control to the audience to interact with it in different ways. Instead of having only one way to interact with the text, there are many or even infinite ways. Another example would be a basic webpage. There is no limit to the way a user can scroll between pages. On a Wikipedia page, a user can jump to any section of the article using the table of contents at the top of the page. This method does not require technology though. Neal points out that portfolios also offer this allowance. The audience can view the portfolio in any order. This is an example of how control can be relinquished unwillingly because the creator of the works may have a specific order in mind, but it is unenforceable.