This essay uses the material thought advocated by Paul Carter to argue for the materiality of writing. It does this by examining hypertext as an academic material writing practice, using ideas from design and hypertext theory. It specifically argues for a crystalline structure in hypertext as the actualisation of virtual possibilities via links and how this is different and novel in relation to existing academic writing.

This essay combines film and hypertext theory to reformulate a hypertextual question that, to date, has been poorly framed. This question addresses the particular relation that may exist between the discursive domains of film and hypertext in terms of a possible affinity between the cinematic edit and the hypertextual link, with a view to reimagining the genealogy that has been imposed upon hypertext as a reading and writing practice. It is hoped that along the way a productive recasting of the relation between cinema theory (of one sort or another) and hypertext can occur, and that this will provide a possible methodology for a hypertext writing practice that is yet to be invented.

This paper proposes that within the practice of writing small scale, local hypertext, critical questions of relevance to all hypertext researchers are foregrounded, in particular problems of excess, context, and teleological interpretation.

The hypothesis I wish to pose is simple. Within link node hypertext it is clear that context is fundamental to link interpretation, and that context is largely reader (i.e., pragmatically) determined, in no manner is the significance of the link exhausted by any particular context in which it may occur. Furthermore, a significant factor in the contextual interpretation of the link is the development of narrative schemas, and such schemas determine meaning retrospectively. This suggests that structure in hypertext is produced pragmatically, and its principal meaningful structures are defined retrospectively. The tension between links as pragmatic, open, and excessive, versus the teleological imposition of coherence, is the space within which hypertext writing defines its own practice.

This is a close hermeneutic come narratological reading of "Singin' in the Rain" which was written and published as a hypertext. The work was written in Storyspace and includes embedded video of the sequence that is analysed.

Multimedia is a term and a product which appears to have managed to monopolise the public, corporate, institutional, and political high ground in the debate about new media. Variously characterised as a synergy between existing media, a combination of text and visual data into a revolutionary recombination, or as an interactive and emancipatory text, multimedia has been promoted in terms that bring it dangerously close to an object that has more to do with Utopian projections about the next millennium than with what any of its fundamental claims might entail.

A self published report on the implementation of hypertext in a media studies program in 1995.

A paper that combines hypertext theory with cinema studies practice to describe a way of 'doing' cinema studies that takes advantage of hypertext theory and practice and the affordances of digital media.

Oh, the essay uses George Bataille's theory of the general and restricted economy as the basis of a critique of some instrumental approaches to linking in hypertext. I also point out that the idea that the link is neutral and only ever instrumental also has affinities with realist literature.

In hypertext criticism when students don't 'get' a hypertext they 'bite the breast' claiming the irrelevance of hypertext rather than questioning the adequacy of their own reading schemas. This brief work uses object relations psychology and its description of our relationship to art, and idea of the breast as a ‘transitional object’ for the child as a model for describing such criticism. The transitional object is that thing that the child uses to mediate its first experiences of itself as an entity separate in the world.