That is, all deviation from the most banal linguistic order entails a new kind of organization, which can be considered as disorder in relation to the previous organization, and as order in relation to the parameters of the new discourse. Tht s, ll dvtn frm th mst bnl lngstc rdr ntls nw knd f rgnztn, whch cn b cnsdrd s dsrdr n rltn t th prvs rgnztn, nd s rdr n rltn t th prmtrs f th nw dscrs. _
cn hv nggt nw?_
ll ths brds wth tth_ But whereas classical art violated conventional the conventional order of language within well-defined limits, contemporary art constantly challenges the initial order by means of an extremely “improbable” form of organization. Umbero Eco, The Open Work, p.60.
Traditionally, links were seen as annotations, or sometimes just “further reading,” but significant use makes in-line linking part of the text, a way to phrase a thought ( Interface Culture, p.133). What appears to be disorder in the library-driven sense (annotation), makes perfect sense in the use of hypertext as in-line extension of thought. There’s no point in saying it again if someone else says it better. Like modern art as Eco sees it, this challenges the organizational structure entirely. It also creates noise.
Noise being one of the most interesting ways that people find ways to disrupt and/or participate in a highly mediated and organized system. Consider the “library” of nolayout.com. Being free and purposefully chaotic, it looks noisy if you expect regular organization. But the logic is the order of submission, along with the OK of the content by the editors, subject to the opacity of their workflow. A quick look at the source for the page helps:
<a id=”daniel-schmal” href=”/daniel-schmal/primarily-stoked/“>
<img src=”http://image.issuu.com/110527143230-d11bda830e184d55a2e826cbe2afb9c1/jpg/page_1_thumb_medium.jpg” alt=”Primarily Stoked thumbnail” onmouseover=”showtip(event, ‘<p><b>Primarily Stoked</b> – published by Daniel Schmal, 2011</p>’);” onmouseout=”hidetip();” />
<span id=”description”>A series of prints with a supplementary zine. Archival Pigment Prints, 20" x 24". http://www.danschmahl.com</span>
<a id=”22-16-summa” href=”/22-16-summa/22-16-summa-issue-1/“>
<img src=”http://image.issuu.com/110525150757-2feb076ef4774282aedc72cdca17dbfa/jpg/page_1_thumb_medium.jpg” alt=”22:16:Summa Issue #1 thumbnail” onmouseover=”showtip(event, ‘<p><b>22:16:Summa Issue #1</b> – published by 22:16:Summa, 2011</p>’);” onmouseout=”hidetip();” />
<span id=”description”>Printed in April 2011. http://www.2216summa.tumblr.com</span>
And so on (No Layout Source 052711). The day I pulled this, Schmal’s “Primarily Stoked” was the most recent item. Noise and disorder allow for the creation of connections (by way of editorial policy and time of submission) that might not have existed before. None of this is revolutionary. This isn’t an argument for the demolition of LCSH. Nor the crowd-sourcing of organization. This is about idiosyncrasy and learning from other disciplines. I’ve used Nolayout to provide an illustration for using a mixture of poetics and information theory by way of Eco to show how uncreative some organizational schemes are. But it is worth noting that if you actually look at the things being linked to, you can start to see the shape of the editorial policy that is obfuscated by the format, the argument that is made by a collection of PDFs, which is the story of hypertext writ large.