Untitled - witz cultural

'r88HYPERTEXT 3.0as the photograph of Giseldo. At that point, it became obvious that bothsculptures had been executed by the same person. Obviously, anyone interestedin Victorian and Edwardian sculpture would prefer to have both worksin the same physical space and be able to move them about until one couldlook at them from the same vantage point; anyone who has ever studiedsculpture of this period immediately realizes how unlikely would be theopporfunity to make such a comparison. Instead, the researcher usually hasto use published photographs, each ofwhich ofnecessity is taken from oneposition, and even if one visits major museums, one often finds that sculpturesare displayed in such a way (often in a corner or against a wall) that onecannot obtain the view one wants. With Quicktime VR, one can. Anyone interestedin sculpture clearly cares about the materiality, the sheer mass andsurface ofthe object in question, and so one really wants access to the original objects with the ability to move and touch them and gaze at them for along time under different kinds of light conditions. If one cannot have theactual object, then Quicktime VR is the next best thing; it is certainly superiorto my 35 mm slides, which make The Ghent Altorpiece andanny woodengravingappear to be on the same scale.Hypertext as Collage WritingMost current examples of hypertext take the form of textsoriginally produced by the hypertext author in and for anothermedium, generally that of print. In contrast, this section oncollage writing derives from a hypertext, though it incorporates materialsultimately derived from printed books, too. On Tuesday, June 7, 1994, at17:.07:54 Eastern Standard Time, Pierre Joris, a faculty member at the StateUniversity of New York, posted some materials about collage on a electronicdiscussion group called Technoculture. (I have discussed the first year ofTechnoculture's existence in "Electronic Conferences and Samiszdat Texruality:The Example of Technoculture," in the 1993 MIT volume, The DigitolWord,which I edited with Paul Delany.) foris wished to share with readers ofthis e-conference a gathering of texts on the sub;'ect he had delivered as acombination of an academic paper and performance art while in graduateschool. His materials seemed to cry out for a hypertext presentation, and soafter moving them from my mailbox to a file on the Brown University IBMmainframe, I transferred them-in the jargon, "downloaded them"-in asingle document via a phone line to a Macintosh whirring away in my studyat home. Next, I opened them in Microsoft Word, and, passage by passage,quickly copied the individual elements of "Collage between Writing andPainting," pasting each into a separate writing space or lexia in a new Story-