Intro  |  Handout  |   Bio   |   Works Cited   | Cast Party  ||  one  |  two  |  three  |  four  |  five  |  six  |  seven  |  eight


Who Put the Hype
in the Hypertext?

Leger: Card Game

Cue sound three.

Cue visual four 

Sound three:

Well, I'm really not such a bad guy 
once you get to know me.
Visual four . . .
Your life's a dime-store novel. 
This town is full of guys like you.

  Could we call emerging experimental styles in exposition a cubist genre of (academic) prose? Some literary critics refer to Virginia Woolf's prose as cubist because of the way she disrupts and/or develops her narrative by juxtaposing scenes temporally out of sequence or by presenting the same subject from multiple perspectives. 

Flashbacks and jump cuts, schizophrenic sensibilities, and characters outliving themselves would seem to the late Victorian narrative a passable analog to what Picasso and Duchamp were to the visual art of the world grown accustomed to Monet. 

The current multivoiced, multiform textualities appropriate the fragmented rationality from the intellectual culture of our day to re-present it in the development of the essay. It owes something perhaps to electronic hypertext, something to experiments in print genres (Woolf is a predecessor in this regard). 

In its tolerance for nonlinear associations, it resonates even with the discourse of much older traditions. Navajo thought, according to Toelken, honors a "cluster logic," by which events are related because they cluster around an evident theme. What Anglos might call mere coincidences-no linear cause and effect-are seen as self-evident, meaningful associations. 

It also owes something to the videographic influences around us. 

Cue visual five.

Is this a newly visual form, a visual revision of the essay? In the visual revision, is there also an intellectual and aesthetic revisioning?