Diagrammatic Writing | Will O'Pedia

tags: Text

Text as graphical medium.

What could these ideas do in the world of hypermedia?

Notes

The semantic system of graphical relations The graphical expression of semantic relations

NOTER_PAGE: (4 . 0.45778997940974603)

The first words placed define the space.

NOTER_PAGE: (8 . 0.37817433081674673)

In a flat space, position organizes relations.

NOTER_PAGE: (8 . 0.6870281400137268)

No judgement or value attaches to these differences. They simply register and have an effect.

NOTER_PAGE: (8 . 0.7927247769389155)

Place the line in the right relation to the margins for itself, as a stand-alone entity, or let it introduce a system of relations that will be consistent throughout.

NOTER_PAGE: (9 . 0.3699382292381606)

These are not design issues, matters of style and proprtion. They are issues of rhetorical force.

NOTER_PAGE: (9 . 0.5655456417295813)

No properties are absolute, no properties are essential. All is relational.

NOTER_PAGE: (9 . 0.7968428277282086)

two columns juxtaposed

NOTER_PAGE: (13 . 0.2059025394646534)

might be read in sequence,

NOTER_PAGE: (13 . 0.22580645161290322)

might also be sitting next to each other as rivals for atten- tion,

NOTER_PAGE: (13 . 0.3417982155113246)

The force of proximity is extremely strong. But it is not absolute.

NOTER_PAGE: (13 . 0.3417982155113246)

they are in an agonistic struggle with each other.

NOTER_PAGE: (13 . 0.7446808510638298)

NOTER_PAGE: (14 . 0.4200411805078929)

the not-so-subtle realm of not-quite-repressed mutterings, or, also, in another mood, play the role of helpful other voice.

NOTER_PAGE: (14 . 0.8291008922443377)

The physical space limits are mea- surable, and according to a fixed metric, assured. But the associative field within the text creates endless opportuni- ties

NOTER_PAGE: (16 . 0.4433768016472203)

breaching the code of compositional conduct.

NOTER_PAGE: (16 . 0.5346602608098833)

learn to write with the fuller feature set of n-dimensional composition.

NOTER_PAGE: (16 . 0.7295813315030885)

White space dif- ferentiates wordspace from worldspace.

NOTER_PAGE: (17 . 0.880576527110501)

What is the affective quality of a header placed high, what aristo- cratic disregard does it display in its distance from the mundane texts below?

NOTER_PAGE: (18 . 0.3891557995881949)

How does the marching steady pace of a text block hold its own against the slithering, sometimes sneering, snarky, or otherwise undercutting character of the footnote?

NOTER_PAGE: (18 . 0.4365133836650652)

the monumental forces of a bold first line

NOTER_PAGE: (18 . 0.579958819492107)

A strong tension between either/or struggles with the equally developed impulse towards both/and.

NOTER_PAGE: (19 . 0.23266986959505834)

With each indentation, the text appears to be at a more detailed level of argument, as if the overarching spatial reach of the first lines were an embrace within which the finer exposition occurs.

NOTER_PAGE: (19 . 0.48798901853122856)

the uncomfortable effect of proximity

NOTER_PAGE: (19 . 0.9196980096087851)

an act of protective custody, one in which the embrace of a text by another is used to hold the second- ary text in a position of security,

NOTER_PAGE: (20 . 0.2141386410432395)

an move to surround and possess a text, the imperi- al impulse of one text to- wards another.

NOTER_PAGE: (20 . 0.35072065888812626)

A larger point size makes a claim for the authority of the statement

NOTER_PAGE: (20 . 0.6115305422100206)

some degree of planning for the entire event of the space suggests that the enframing text already existed and is being put into a relation of convenience for connections within the content.

NOTER_PAGE: (20 . 0.8064516129032258)

Entanglement complicates a text.

NOTER_PAGE: (22 . 0.3390528483184626)

the full effect of entanglment is

NOTER_PAGE: (22 . 0.7728208647906657)

to connect any single text to the matrix of all others.

NOTER_PAGE: (22 . 0.8160603980782429)

The force of attraction of one text to another practically gener- ates commentary, as if the need to intervene, contravene, make a statement on any other statement were contained within the text.

NOTER_PAGE: (23 . 0.19148936170212766)

The beneath-ness of the space in which notes operate makes them appear insignificant but fraught, full of a pent energy

NOTER_PAGE: (23 . 0.8359643102264928)

But how much space do these large lines take up? What space is it?

NOTER_PAGE: (24 . 0.40768702814001373)

Marginalia are the gadflies of discourse,

NOTER_PAGE: (25 . 0.22306108442004116)

centers of gravity begin to appear in the work?

NOTER_PAGE: (25 . 0.40905971173644473)

pivot points in the graphical space?

NOTER_PAGE: (25 . 0.4365133836650652)

areas in which the concentration of energy accumulates?

NOTER_PAGE: (25 . 0.456417295813315)

That odd aporia in the text above is profoundly disturb- ing. Unfamiliar, the odd blank feels like a pressure point

NOTER_PAGE: (26 . 0.45161290322580644)

In a dynamic folding screen space, the num- ber of bridge line argu- ments is, in principle, infinite.

NOTER_PAGE: (26 . 0.7185998627316403)

What if nothing can ever be parallel in textual practice?

NOTER_PAGE: (27 . 0.8421413864104323)

Those gutters, obedient, subservient, essential. Without them the text falls apart, into a state of chaotic disarray. But they are also scenes of intervention, sites that give a glimpse of the continuity of the quires, the basic inte- grated structure of the book as a form.

NOTER_PAGE: (28 . 0.14687714481811942)

guarding the text block from disintegration and disappearance.

NOTER_PAGE: (28 . 0.2765957446808511)

Organization and order become tedious.

NOTER_PAGE: (28 . 0.42278654770075497)

What expansions happen when the annotating text begins to surround the primary text and take over from the dominant order?

NOTER_PAGE: (28 . 0.4969114619080302)

After legibility, who cares?

NOTER_PAGE: (28 . 0.5682910089224433)

rapid scale change and continal irruption/interruption will become a method,

NOTER_PAGE: (28 . 0.5978037062457103)

A diagram is an image that works.

NOTER_PAGE: (28 . 0.8112560054907344)

the organization of elements must be read in relation to each other.

NOTER_PAGE: (28 . 0.8352779684282773)

reduced to a few key principles: a set of moves that are primary, and the notion of inflections and attributes.

NOTER_PAGE: (28 . 0.8592999313658202)

What if the spaces of the page opened to show all the al- ternatives and variations, sources and materials, references and combinatoric possibilities latent within it?

NOTER_PAGE: (29 . 0.37199725463280714)

Sources are radiant, not hierarchical, in their arrays.

NOTER_PAGE: (29 . 0.5147563486616334)

How to distinguish acts of opening from those of surrounding? A gentle from a hostile act?

NOTER_PAGE: (29 . 0.8393960192175703)

Two monologues written and put next to each other are not a dialogue, no matter how cleverly they are written, even though they may be in dialogue by virtue of their proximity.

NOTER_PAGE: (30 . 0.29855868222374743)

Sequential statements are the conven- tion, but in spatial terms, a dialogue is an intertextual move, a play in which any element is in a relation with another.

NOTER_PAGE: (30 . 0.3761153054221002)

pull apart the obvious and apparent unity of any text and demonstrate its porousness, the incompleteness of boundaries, the impossibility of finitude.

NOTER_PAGE: (30 . 0.8263555250514756)

The apparently static organization of the page space is always read as a set of vectorial forces in play.

NOTER_PAGE: (33 . 0.8558682223747426)

This is a book that is as close as possible to being entirely about itself.

NOTER_PAGE: (37 . 0.8188057652711049)

Notes

The semantic system of graphical relations The graphical expression of semantic relations

The first words placed define the space.

In a flat space, position organizes relations.

No judgement or value attaches to these differences. They simply register and have an effect.

Place the line in the right relation to the margins for itself, as a stand-alone entity, or let it introduce a system of relations that will be consistent throughout.

These are not design issues, matters of style and proprtion. They are issues of rhetorical force.

No properties are absolute, no properties are essential. All is relational.

two columns juxtaposed

might be read in sequence,

might also be sitting next to each other as rivals for atten- tion,

The force of proximity is extremely strong. But it is not absolute.

they are in an agonistic struggle with each other.

distant text block whose connection to those on the opposite page has to be carefully calculated. Is this outlier a rogue text? Or is it related to the others? How should it be considerd?

the not-so-subtle realm of not-quite-repressed mutterings, or, also, in another mood, play the role of helpful other voice.

The physical space limits are mea- surable, and according to a fixed metric, assured. But the associative field within the text creates endless opportuni- ties

breaching the code of compositional conduct.

learn to write with the fuller feature set of n-dimensional composition.

White space dif- ferentiates wordspace from worldspace.

What is the affective quality of a header placed high, what aristo- cratic disregard does it display in its distance from the mundane texts below?

How does the marching steady pace of a text block hold its own against the slithering, sometimes sneering, snarky, or otherwise undercutting character of the footnote?

the monumental forces of a bold first line

A strong tension between either/or struggles with the equally developed impulse towards both/and.

With each indentation, the text appears to be at a more detailed level of argument, as if the overarching spatial reach of the first lines were an embrace within which the finer exposition occurs.

the uncomfortable effect of proximity

an act of protective custody, one in which the embrace of a text by another is used to hold the second- ary text in a position of security,

an move to surround and possess a text, the imperi- al impulse of one text to- wards another.

A larger point size makes a claim for the authority of the statement

some degree of planning for the entire event of the space suggests that the enframing text already existed and is being put into a relation of convenience for connections within the content.

Entanglement complicates a text.

the full effect of entanglment is

to connect any single text to the matrix of all others.

The force of attraction of one text to another practically gener- ates commentary, as if the need to intervene, contravene, make a statement on any other statement were contained within the text.

The beneath-ness of the space in which notes operate makes them appear insignificant but fraught, full of a pent energy

But how much space do these large lines take up? What space is it?

Marginalia are the gadflies of discourse,

centers of gravity begin to appear in the work?

pivot points in the graphical space?

areas in which the concentration of energy accumulates?

That odd aporia in the text above is profoundly disturb- ing. Unfamiliar, the odd blank feels like a pressure point

In a dynamic folding screen space, the num- ber of bridge line argu- ments is, in principle, infinite.

What if nothing can ever be parallel in textual practice?

Those gutters, obedient, subservient, essential. Without them the text falls apart, into a state of chaotic disarray. But they are also scenes of intervention, sites that give a glimpse of the continuity of the quires, the basic inte- grated structure of the book as a form.

guarding the text block from disintegration and disappearance.

Organization and order become tedious.

What expansions happen when the annotating text begins to surround the primary text and take over from the dominant order?

After legibility, who cares?

rapid scale change and continal irruption/interruption will become a method,

A diagram is an image that works.

the organization of elements must be read in relation to each other.

reduced to a few key principles: a set of moves that are primary, and the notion of inflections and attributes.

What if the spaces of the page opened to show all the al- ternatives and variations, sources and materials, references and combinatoric possibilities latent within it?

Sources are radiant, not hierarchical, in their arrays.

How to distinguish acts of opening from those of surrounding? A gentle from a hostile act?

Two monologues written and put next to each other are not a dialogue, no matter how cleverly they are written, even though they may be in dialogue by virtue of their proximity.

Sequential statements are the conven- tion, but in spatial terms, a dialogue is an intertextual move, a play in which any element is in a relation with another.

pull apart the obvious and apparent unity of any text and demonstrate its porousness, the incompleteness of boundaries, the impossibility of finitude.

The apparently static organization of the page space is always read as a set of vectorial forces in play.

This is a book that is as close as possible to being entirely about itself.