Hypermedia

We present a general model and information server for the digital annotation of printed documents. The resulting annotation framework supports both informal and structured annotations as well as context-dependent services. A demonstrator application for mammography that features both enhanced writing and reading activities is described.

Chapter in THE DIGITAL TURN, Design in the Era of Interactive Technologies, Barbara Junge et al (Editors), Park Books 2012.
"I start with this premise: humans make meaning by telling stories. Narrative is the fundamental glue of human perception: one thing after another — characters, words, symbols — cause and effect. This is the metaphysics of an English major, the formative worldview reinforced by an American liberal arts education."

The article presents a conceptual framework for distinguishing different sorts of heterogeneous digital materials. The hypothesis is that a wide range of heterogeneous data resources can be characterised and classified due to their particular configurations of hypertext features such as scripts, links, interactive processes, and time scaling’s, and that the hypertext configuration is a major but not sole source of messiness of big data. The notion of hypertext will be revalidated, placed at the centre of the interpretation of networked digital media, and used in the analysis of the fast growing amounts of heterogeneous digital collections, assemblages and corpora. The introduction summarises the wider background of a fast changing data landscape.
The article is a revised and expanded version of a presentation given at the RESAW Conference on Web Archives as Scholarly Sources, Aarhus University, Denmark, 8–10 June 2015.
Keywords: Hypertext, Multiple Source Knowledge Systems, Hypertext genres,

Though information architecture (IA) has been represented in Wikipedia since 2003, subject coverage remains inadequate. Without current, academically oriented information and references, the article fails to meet quality standards. A proposed WikiProject would bring needed enhancements to the quality of the IA page to present an accurate and comprehensive picture of the field with appropriate links to related topics. A Wikipedia IA editathon at the 2015 Information Architecture Summit provided an opportunity to jumpstart the WikiProject, with new page editors enlisted as Wikipedians. Editing a Wikipedia page is open to all, though editors are expected to follow policies, rules and guidelines. The DBpedia database, underlying all Wikipedia pages, captures URIs for information elements and RDF triples representing facts. Topic tagging enables linked, open collection of information, stored in the Wikidata knowledge base and linked to other Wiki sites and external databases through identifier properties. All are invited to improve the Wikipedia Information Architecture entry by strengthening and tagging the content, adding references and building links

Despite the increasing availability of various forms of digital maps and guides, paper still prevails as the main information medium used by tourists during city visits. The authors describe how recent technologies for digitally augmented paper maps can be used to develop interactive paper maps that provide value-added services for tourists through digital overlays. An initial investigation into the use of these maps to support visitors to the Edinburgh festivals is also presented.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

As ‘a maddeningly elastic phenomenon’ (Kraidy), hybridity presents cultural distinctions as porous – especially since it denotes a dynamic process over a static state. Consequently, addressing hybridity in conjunction with live performance foregrounds the associative character of consciousness. For theatre is uniquely suited to generate authenticity through ‘the happening of the interface’ (Giannachi) – i.e. by staging its hypermediacy to highlight its hybridizing potential. Almost as schizophrenic, the principle of morphing then provides another platform to reflect on matters of authenticity in the digital age due to its ‘uncanny dramatization of a process metaphysics’ (Sobchack). Especially when considering the collaboration between choreographer Frédéric Flamand with architects Diller+Scofidio on Moving Target (1996), an encounter between physical bodies and a techno-architectonic stage environment where performers morphed ‘live’ on stage.

This paper is about the classroom use of digital literacies. It describes using a hypermedia-authoring program with middle-years students at an Australian secondary school. Classroom environments were created in which collaborative and innovative group work built on technical facilities and expertise developed by students outside of school. The teaching of nonlinear hypermedia stories and instruction in software use to create such stories are represented as a case study. The author argues that the three-part model for understanding literacy - as having an operational, a cultural and a critical dimension - can be an effective way to deal with the occasionally intimidating experience of digital literacies in education.

This paper is an analysis of hypertext narrative, or in other words, of those novels and short stories that can be read only using a computer. Special emphasis is placed upon the specific features of the random access memory, which enables the writer/reader to interact with the hypertext, and produces a new definition of "writing space". A parallel is then drawn between the hypertext concept and the idea of the labyrinth, in order to see to what extent hypertexts can be classified using labyrinth classification. Recent approaches in semiotics which can be related to these themes are also briefly examined.

Over the last few years, there has been a significant increase in the number of researchers dealing with the integration of paper and digital information or services. While recent technological developments enable new forms of paper-digital integration and interaction, some of the original research on interactive paper dates back almost twenty years. We give a brief overview of the most relevant past and current interactive paper developments. Then, based on our experience in developing a wide variety of interactive paper solutions over the last decade, as well as the results of other research groups, we outline future directions and challenges for the realisation of innovative interactive paper solutions. Further, we propose the definition of common data formats and interactive paper design patterns to ensure future cross-application and framework interoperability.

The paper explores Tati's use of new film media in 'Playtime' in ways that reveal more fundamental modes of social, mimetic and situational mediation as performed in the film by architects, and architect-like characters, and by the architectural settings which Jacques Tati devised.

HTML5 is the newest revision of the HTML standard developed by
the World Wide Web Consortium (W3C). This new standard
adds several exciting news features and capabilities to HTML. This
article will briefly discuss the history of HTML standards, explore
what changes are in the new HTML5 standard, and what implications
it has for information professionals. A list of HTML5 resources
and examples will also be provided.
KEYWORDS HTML, HTML5, standards

HERGESEL, J. P. Thalita Meneghim como Melissa Berengher: a composição poética do ídolo juvenil na websérie A Vida de Mel. RICA. Revista Interdisciplinar Científica Aplicada, v. 8, p. 69-89, 2014.

Resumo: Neste artigo, discutimos como a narrativa na hipermídia colabora para que um indivíduo se torne ídolo juvenil. Para isso, consideramos a imagem da atriz Thalita Meneghim e discorremos sobre a relação mítica estabelecida com o público adolescente. Em concomitância, debatemos teorias sobre a hipermídia (Gosciola, 2003), a construção do ídolo (Morin, 1989), o nascimento da celebridade hipermidiática (Baio, 2009) e a consolidação do mito (Barthes, 2009). Com o objetivo principal de discutir a relação entre hipermídia e idolatria adolescente, oferecemos este pensamento como contribuição aos estudos de comunicação e cultura.
Palavras-chave: Comunicação e hipermídia. Narrativas. Imagem midiática. Ídolo adolescente. Cultura juvenil.

Abstract: In this article, we discussed how the storytelling in hypermedia collaborates for an individual to become idolized by teenagers. For this, consider the image of the actress Thalita Meneghim and carry on about the mythical relationship established with the young audience. Concurrently, debating theories about hypermedia (Gosciola, 2003), the construction of the idol (Morin, 1989), the birth of hypermedia celebrity (Bay, 2009) and the consolidation of the myth (Barthes, 2009). With the main objective of discussing the relation between hypermedia and teen idolatry, we offer this thought as a contribution to the study of communication and culture.
Keywords: Communication and hypermedia. Storytelling. Media image. Teen idol. Youth culture.

Este trabalho buscou nos conhecimentos da cognição situada e de ambientes adaptativos e/ou adaptáveis base teórica para atingir seu objetivo geral: definir um conceito de concepção de ambiente interativo com uma visão antropocentrada e com ênfase em usuários novatos.
A partir da fundamentação teórica concluiu-se que as técnicas e os métodos da hipermídia adaptativa e/ou adaptável associados aos conhecimentos de cognição situada, mais especificamente da aprendizagem situada e da consciência situada, podem contribuir para a concepção de ambientes interativos principalmente para esse perfil de usuário.
A convergência desses conhecimentos levou à proposta de um conceito de concepção de ambientes interativos, o conceito de modularidade, que visa corroborar no design de interfaces condutivas e intuitivas para os usuários novatos. A proposta de modularidade de ambientes tem o intuito de flexibilizar os ambientes interativos permitindo ao usuário a tomada de decisão durante a interação, uma abordagem antropocentrada. Essa adaptabilidade dos ambientes interativos pode permitir ao usuário a escolha de perfil para interação e, rompe com o paradigma tecnocentrado desses ambientes.
O conceito de modularidade visa à simplificação de interfaces, com a organização e a pertinência de suas ferramentas em relação à tarefa a ser realizada. Esses fatores podem facilitar o desempenho dos usuários novatos, favorecendo na compreensão e na memorização das ferramentas, logo, no aprendizado da interface.
Para a avaliação da proposta do conceito de ambientes modulares foi realizada uma avaliação ergonômica de usabilidade do tipo ensaios de interação. E, como modelo de análise optou-se por uma adaptação de um ambiente, já existente, de ensino a distância - TelEduc.

El propósito de esta investigación es abordar la creatividad desde una óptica antropológica que englobe los fundamentos biológicos y cognitivos que participaron en la consolidación de un lenguaje creativo, así como su aplicación en la construcción de narrativas en la sociedad.
Para comprobar si los procesos narrativos de antaño son aplicables a las nuevas tendencias narrativas se atenderá a un modelo de análisis estructural: por una parte, se estudiarán las características textuales de la épica oral griega, por otra las inherentes al videojuego, demostrando los aspectos comunes entre ambas narrativas.
En definitiva, se pretende demostrar que el lenguaje creativo es un proceso innato al ser humano que se desarrolla gracias a sus capacidades simbólicas durante la evolución. Las reglas que dominan el proceso de creación, pese a escapar a la comprensión humana, han sido configuradas a través de procesos miméticos culturales a la manera del aprendizaje de lenguas. Gracias a esta habilidad el individuo será capaz de materializar de forma concreta o abstracta una representación cultural como la narrativa, que mantiene intacta su estructura de representación y sólo difiere en los modos tecnológicos que le son aplicados.

In his book Différence et répétition (1968), Gilles Deleuze elaborates an essential concept for the theory of the image: the simulacrum. The plane of the simulacra is characterised by the co-extensiveness of images, which are individuated by their own difference, and not by their placement in an ontological hierarchy, platonic at its origin; and that has as its poles true and false, being and not-being, fair or unfair.
In current times, the concept of simulacrum seems to be one of the most efficient tools to overcome a further dichotomy: a dichotomy - old and based on past ontologies -, between virtual and real, and therefore, between virtual images and real images.
Firstly, the present work intends to apply the notion of simulacrum to the study of digitally-based images to make evident their belonging to the same plane of any other kind of images, namely the material ones.
Secondly, the notion of simulacrum is applied to the screen, to make evident how it has been mistakenly included in the plane of the images. Historically, the consequence of this mistake has been inauthentic experiences, and the triggering of processes of desubjectification.
After verifying the mentioned hypotheses and removing the screen from a potential ontology of the image, the screen is then correctly relocated in a semiotic and mediologic horizon. In this context, C.S. Peirce’s notions of icon and symbol, and Bolter-Grusin’s polarities of hypermediation and transparency are applied to demonstrate how the evolution of the screen in the last thirty years has culminated in a strong mannerist phase in the recent past, especially since the touch-screen technology has lead to a blurring of the limits between screen and interface. However, it is relevant to notice that in more recent releases of contemporary interfaces a return to a symbolic and hypermediated regime can be observed.
As a conclusion, the main aim of this article is to restore, in the light of the notion of simulacrum, a clear and fair relation between image and screen, so that from both of them an authentic and subjectifying experience can be drawn.

""Computer-based learning has become a common phenomenon in the modern age. Many distance-learning systems distribute educational resources on the Internet and indeed entire study programmes are now widely available online. Such a large amount of content and information can be intimidating to learners, who may exhibit different individual characteristics, such as variation in goals, interests, motivation and/or learning preferences. This suggests that a uniform approach taken by learning environments to deliver materials and resources to students is not appropriate and that personalisation of such materials/resources should address users’ differences to provide a customised learning experience, thus enhancing its effectiveness, lowering drop-out rates and maintaining high student motivation.

This thesis addresses the latter issue of learning preferences, specifically investigating learning styles as an adaptation mechanism for personalised computer-based learning. A number of previous studies indicated the positive effect that this kind of adaptation provides, but under closer examination these were not conducted in a scientifically rigorous manner and thus their findings are somewhat limited. This research utilises a quantitative and highly objective approach to investigate visual/verbal and sequential/global learning styles in different user groups. Three user trials were carried out to discover whether there were any benefits to using these learning styles for studying in an adapted environment.

Overall, no statistically significant benefits were found and these findings now shed doubt as to whether learning styles are indeed an effective mechanism for personalised learning.""

Este libro editado por Diego LIzarazo, apuesta por una mirada hermenéutica de las imágenes. Esto significa que no consideramos las imágenes como objetos plásticos, sino como relaciones intersubjetivas y sociales, como actos icónicos. Así, nos dice Diego Lizarazo en la Introducción de este libro. Dichos actos articulan interpretaciones de diversos aspectos del sentido subjetivo y colectivo, en el contexto de los universos culturales. En la visión tradicional las imágenes son entidades inmanentes (objetos-imagen o textos visuales), en las que su opacidad impide ver la dinámica socio-histórica que engendra todo su sentido. La mirada que este libro ofrece reconoce que el centro de la significación plástica son las relaciones de conflicto y diálogo de interpretación del sentido que configuran el acto icónico.

Describing the relationship between the two concepts: intertext and hypertext, and respectively intertextology and hypertextology. Main objectives of the thesis: the theoretical fundamentation of existence of a (dis)continuity relationship between the components of the triad text – intertext – hypertext; substantiating the need to establish new
disciplines for the specialty „62. Philology. 621. Language sciences”, such as the linguistics of Internet or (inter)net-linguistics; hypertext theory; hypertext-linguistics; hypertext as a fundamental web unit; hypertext as a subject of information and communication sciences. The
objectives of the work include: describing the evolution of hypertext concept as a metaphor and a term; highlighting the particularities of Internet language as a virtual language; characterising the fundamental units of hypertext: hypertextem, texton and hyperlink; hypertextometric analysis of the online Bible; comparative analysis of Wikipedia articles; identifying and describing elements of the semiotic web.

PowerPoint is one of the most frequently used tools to present multimedia for educational purposes. Nevertheless, little is known about the users' needs when using PowerPoint during lecturing. Our study focused on the presenter's needs in this context of use. We interviewed nine university lecturers from the computer science department by means of a questionnaire. The results show that users require features that are not yet realised with PowerPoint. For example, the control and use of other media should be adequately integrated. Or the navigation within the slide collection should be improved to better meet the users' needs. Based on our findings, we outline required system features and suggest solutions in form of a prototype.

Overview of ongoing research in the CISA group (WISE research lab) at the Vrije Universiteit Brussel. The group is investigating cross-media information spaces and architectures, interactive paper and augmented reality solutions as well as multimodal and multi-touch interaction frameworks. Thereby, we are doing research on new document formats for representing information across different types of media as well as fluid user interfaces for interacting with the resulting cross-media information spaces. A significant part of our research is based on applying and extending the resource-selector-link (RSL) hypermedia metamodel.

More information: https://beatsigner.com/cross-media-information-spaces-and-architectures.html

Many of today's digital document formats are strongly based on a digital emulation of printed media. While such a paper simulation might be appropriate for the visualisation of certain digital content, it is generally not the most effective solution for digitally managing and storing information. The oversimplistic modelling of digital documents as monolithic blocks of linear content, with a lack of structural semantics, does not pay attention to some of the superior features that digital media offers in comparison to traditional paper documents. For example, existing digital document formats adopt the limitations of paper documents by unnecessarily replicating content via copy and paste operations, instead of digitally embedding and reusing parts of digital documents via structural references. We introduce a conceptual model for structural cross-media content composition and highlight how the proposed solution not only enables the reuse of content via structural relationships, but also supports dynamic and context-dependent document adaptation, structural content annotations as well as the integration of arbitrary non-textual media types. We further discuss solutions for the fluid navigation and cross-media content publishing based on the proposed structural cross-media content model.

It is an intriguing feature of cybernetics, cognitive science, psychoanalysis, critical theory & particle physics that at key moments in their recent evolution their major practitioners have turned to the work of one particular “experimentalist” writer, James Joyce, in whose key works — Ulysses & Finnegans Wake — they have sought an articulation of the emergent virtuo-real universe which since the mid-20th century we have increasingly come to inhabit. From these two books have directly been drawn the name for the fundamental constituent of the nucleon (Murray Gell-Mann’s quark), a new model of cognition (Daniel Dennett’s Joycean machine), a radical cybernetic conception of language (Jacques Derrida’s Joyceware), a psycho-analytical paradigm (Jacques Lacan’s sinthome), & the foundations of post-War media theory (Marshall McLuhan’s Gutenberg Galaxy, originally called The Road to Finnegans Wake). This volume examines a series of counter arguments to the conventional account of literary cybernetics in light of developments which have accompanied the encounter between critical theory and cultural studies, namely ‘hypertextuality’ and ‘posthumanism.’ In each instance, the continuing legacy of Joyce’s works is examined in detail.

Ruokamo, H., Hyvönen, P., Lehtonen, M. & Tella, S. (eds) 2005. Teaching–Studying–Learning (TSL) Processes and Mobile Technologies: Multi-, Inter- and Transdisciplinary (MIT) Research Approaches. Proceedings of the 12th International NBE 2005 Conference. September 14–17, 2005. Rovaniemi. Publications of the University of Lapland Faculty of Education 11. 
ISBN 951-634-980-3
- - -
Dear NBE 2005 Conference Participants
We are pleased to welcome you all to the NBE 2005 international conference at Rovaniemi, Finland.
The international NBE 2005 conference continues the tradition of the PEG conferences that were organised every two years. For over a decade, the PEG/NBE international conferences have explored ideas at the cutting edge of developments in the fields of artificial intelligence, epistemology, psychology and education in relation to the interaction between teacher, learner, researcher, curriculum, culture and technology.
This will be the 12th time, and we have chosen to upgrade the name of the conference to better highlight our central theme which is Network-Based Education (NBE). We are sure that this way we can respect the tradition and yet create an even more promising future.
Let us, however, remind you of the history of PEG. Originally established in 1985, PEG aimed at linking Logic Programming and Education. Gradually, its focus expanded to encompass all elements of intelligent computer technologies as well as information and communication technologies (ICTs), and, most recently, mobile technologies and applications intended for teachers, students of all ages, as well as designers and researchers. Thanks to this broadened interest, PEG is now known as NBE, Network- Based Education.
NBE aims to grow into an informal and friendly conference which experts and specialists like to attend regularly to exchange ideas and information. NBE is a consortium of all those interested in the relationships between information, knowledge, information and communication technologies (ICTs), mobile technologies, teaching, studying and learning, and multi-, inter- and transdisciplinary (MIT) research approaches.
For this conference, we received 34 submissions, out of which 56% will be presented. We take this opportunity to thank all reviewers who helped us make this conference even better qualitatively.
The conference presentations cover a high number of themes and topics relating to the thematic groups of the conference. Let us mention the most central domains: Knowledge Construction and Hypermedia, Playfulness and Game-Based Learning, New Pedagogical Models, Emotionality in TSL Processes, Design and Development, New Media and Online Video Clips, Narrativity in TSL Processes, and ICT Tools for Teaching and Learning.
We are very grateful to all the members of the Programme Committee for their altruistic contributions to the success of our conference. Our gratitude also goes to Ms Marja-Leena Porsanger, Congress Secretary, for excellent general logistics of the organisation, to Ms Annakaisa Kultima for all graphics design and conference web pages, and to Mr Mauno Hernetkoski for attending to the conference publication and the CD-ROM.
The venue of this NBE 2005 conference is unique. Rovaniemi is generally considered as the Gateway to Finnish Lapland. She has always been at the crossroads of cultural and technological achievement and civilisation. Our conference is hosted by the University of Lapland, the northernmost of all universities of the European Union. This will guarantee us a splendid setting to meet, to share and to feel at home.

Looking forward to meeting you all at Rovaniemi in September 2005!

For the Organising Committee
Professor Heli Ruokamo, Chair

Cet article est une contribution à l'analyse intermédiale et a pour objet d'étude différentes productions musicales et audiovisuelles des rappeurs sénégalais. Utilisant le concept d'hypermédia, il montre que ces derniers font de leurs oeuvres des lieux de cohabitation féconde entre différents médias. Créant des interactions entre musique, littérature, cinéma, radio et télévision, les MCs font adopter à leurs chansons une posture hypermédiatique par laquelle ces médias s'influencent mutuellement. Les exemples illustratifs de cet article sont tirés de chansons et de vidéos soumises à une analyse littéraire et musicale.

While there have been dramatic increases in the use of digital technologies for information storage, processing and delivery over the last twenty years, the affordances of paper have ensured its retention as a key information medium. In this book we review a wide variety of projects and technological developments for bridging the paper-digital divide. We present our information-centric approach for a tight integration of paper and digital information that is based on a general cross-media information platform. Different innovative augmented paper applications that have been developed based on our interactive paper platform and Anoto Digital Pen and Paper technology are introduced. For example, these applications include a mobile interactive paper-based tourist information system (EdFest) and a paper-digital presentation tool (PaperPoint). Challenges and solutions for new forms of interactive paper and cross-media publishing are discussed. The book is targeted at developers and researchers in information systems, hypermedia and human computer interaction, professionals from the printing and publishing industry as well as readers with a general interest in the future of paper.

Buy from Amazon: http://www.amazon.co.uk/Fundamental-Concepts-Interactive-Cross-Media-Information/dp/3837027139

Despite the increasing availability of various forms of digital maps and guides, paper still prevails as the main information medium used by tourists during city visits. The authors describe how recent technologies for digitally augmented paper maps can be used to develop interactive paper maps that provide value-added services for tourists through digital overlays. An initial investigation into the use of these maps to support visitors to the Edinburgh festivals is also presented.

Research paper: https://beatsigner.com/publications/overlaying-paper-maps-with-digital-information-services-for-tourists.pdf

"While there have been dramatic increases in the use of digital technologies for information storage, processing and delivery over the last twenty years, the affordances of paper have ensured its retention as a key information medium. Despite predictions of the paperless office, paper is ever more present in our daily work as reflected by the continuously increasing worldwide paper consumption.

Many researchers have argued for the retention of paper as an information resource and its integration into cross-media environments as opposed to its replacement. This has resulted in a wide variety of projects and technological developments for digitally augmented paper documents over the past decade. However, the majority of the realised projects focus on technical advances in terms of hardware but pay less attention to the very fundamental information integration and cross-media information management issues.

Our information-centric approach for a tight integration of paper and digital information is based on extending an object-oriented database management system with functionality for cross-media information management. The resulting iServer platform introduces fundamental link concepts at an abstract level. The iServer’s core link management functionality is available across different multimedia resources. Only the media-specific portion of these general concepts, for example the specification of a link’s source anchor, has to be implemented in the form of a plug-in to support new resource types. This resource plug-in mechanism results in a flexible and extensible system where new types of digital as well as physical resources can easily be integrated and, more importantly, cross-linked to the growing set of supported multimedia resources. In addition to the associative linking of information, our solution allows for the integration of semantic metadata and supports multiple classification of information units. iServer can, not only link between various static information entities, but also link to active content and this has proven to be very effective in enabling more complex interaction design.

As part of the European project Paper++, under the Disappearing Computer Programme, an iServer plug-in for interactive paper has been implemented to fully integrate paper and digital media, thereby gaining the best of the physical and the digital worlds. It not only supports linking from physical paper to digital information, but also enables links from digital content to physical paper or even paper to paper links. This multi-mode user interface results in highly interactive systems where users can easily switch back and forth between paper and digital information. The definition of an abstract input device interface further provides flexibility for supporting emerging technologies for paper link definition in addition to the hardware solutions for paper link definition and activation that were developed within the Paper++ project.

We introduce different approaches for cross-media information authoring where information is either compiled by established publishers with an expertise in a specific domain or by individuals who produce their own cross-media information environments. Preauthored information can be combined with personally aggregated information. A distributed peer-to-peer version of the iServer platform supports collaborative authoring and the sharing of link knowledge within a community of users.

The associations between different types of resources as well as other application-specific information can be visualised on different output channels. Universal access to the iServer’s information space is granted using the eXtensible Information Management Architecture (XIMA), our publishing platform for multi-channel access.

Our fundamental concepts for interactive paper and cross-media information management have been designed independently of particular hardware solutions and modes of interaction which enables the iServer platform to easily adapt to both new technologies and applications. Finally, the information infrastructure that we have developed has great potential as an experimental platform for the investigation of emerging multimedia resources in general and interactive paper with its possible applications in particular."