HYPERTEXT: SOLUTION/DISSOLUTION
Résumé
Taking my cue from the problematic outlined by Ted Nelson, I attempt an analysis of hypertext, not as a dataspace, but as a class of operations.1 This class is viewed from two perspectives: that of the author-composer and that of the user. I show that these perspectives cannot be subsumed, the one by the other. The analysis obliges us to establish four different dataspaces for hypertext. I further demonstrate that this interpretation is not merely speculative but permits us to understand the compositional procedures of certain digital author-composers. The work of Jim Rosenberg is analyzed in this manner. This unraveling of the concept of hypertext then shows it to be a particular case that illustrates certain characteristics of the devices of e-literature, as described in my recently elaborated general theory, the “Procedural Model.” Finally, certain developments in French digital poetry are presented. The familiar fundamental characteristics of classic hypertext play a marginal role in this work. More importantly, hypertextual characteristics appear to dissolve in this poetic, especially when interpreted in the manner I propose.
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