List of illustrations

Fig. 1

Visual map of paths created by Storyspace. Image by Cheryl E. Ball (2000), CC-BY.

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Fig. 1

Screenshot of my dissertation showing its book-based metaphor, as well as an ‘annobeam’, a function native to the platform which helps readers stay anchored in the main text, while giving the additional information the way a footnote does.

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Fig. 2

Screenshot of a webtext published in 2010 in Kairos (‘Speaking with Students’), in which the opacity has been carefully controlled to show the ghost of other pages in order to indicate the third dimension.

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Fig. 1

Screenshot of the Freie Universität Berlin repository, by Sarah-Mai Dang (2018), https://refubium.fu-berlin.de/discover?filtertype_0=mycoreId&filter_relational_operator_0=equals&filter_0=FUDISS_thesis_000000101486. CC BY 4.0.

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Fig. 2

Screenshot of the second chapter with an embedded film clip, by Sarah-Mai Dang (2018), http://www.oabooks.de/dissertation/web/2-yes-we-can/, CC BY 4.0.

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Fig. 3

The screenshot demonstrates annotating with hypothes.is, by Sarah-Mai Dang (2018), http://www.oabooks.de/dissertation/web/einleitung/, CC BY 4.0.

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Fig. 4

Screenshot of my website showing the POD book, by Sarah-Mai Dang (2018), http://www.oabooks.de/dissertation/print-on-demand/, CC BY 4.0.

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Fig. 5

Screenshot of the publisher’s website offering the English translation of my thesis, by Sarah-Mai Dang (2018), https://www.palgrave.com/de/book/9781137560179, CC BY 4.0.

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Fig. 1

Masure, ‘Program Design’, 2014, double page with thumbnails. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA.

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Fig. 2

Masure, ‘Program Design’, 2014, picture boards. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA.

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Fig. 3

Masure, ‘Program Design’, 2014, alternation between current text and picture books. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA.

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Fig. 4

Masure, ‘Program Design’, 2014, edge of the printed thesis. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA.

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Fig. 5

Masure, website http://www.softPhD.com, 2014, interface variations. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA.

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Fig. 6

Masure, website http://www.softPhD.com, 2014, additional resources page. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA.

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Fig. 7

Pandelakis, ‘The Hero Who Came Undone’, PhD thesis, online version, 2016. Picture by Saul Pandelakis, https://piapandelakis.gitbooks.io/l-heroisme-contrarie/content

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Fig. 8

Maudet, ‘Designing Design Tools’, 2017, design process. Picture by Nolwenn Maudet, https://designing-design-tools.nolwennmaudet.com/, CC BY-NC-SA.

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Fig. 9

Maudet, ‘Designing Design Tools’, 2017, design process. Picture by Nolwenn Maudet, https://designing-design-tools.nolwennmaudet.com/, CC BY-NC-SA.

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Fig. 10

Robin de Mourat, ‘Peritext Program’, 2017. Picture by Robin de Mourat, https://peritext.github.io/, CC BY-SA.n

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Fig. 1

Writing with infographics and alphabetic text as the concentric rings of a ripple, Lena Redman (August, 2019).

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Fig. 2

Paradigmatic organization of linguistic signs, Lena Redman (October, 2020).

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Fig. 3

Syntagmatic organization of linguistic signs, Lena Redman (October, 2020).

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Fig. 4

Paradigmatic dimension of multimodal representation: database, Lena Redman (October, 2020).

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Fig. 5

Fractal structure of new media allows ‘deep remixability’ of syntagmatic and paradigmatic dimensions in making meaning, Lena Redman (October, 2020).

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Fig. 6

Extension of self-presence in the world by means of digital media, Lena Redman (May, 2016).

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Fig. 7

A looping feedback produced by the blind man’s walking stick touching a pathway and his ‘mind-cinema’, determining his locomotion, Lena Redman (April, 2019).

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Fig. 8

Continuous feedback looping between gathering/analyzing data and organizing and representing the process of analysis, Lena Redman (April, 2019).

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Fig. 9

Symbolic representation of the feedback loops between gathering/analyzing data and its organizing/representing that leads to construction of meaning, Lena Redman (April, 2019).

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Fig. 10

Seeing hetero-geneous objects as ‘op-erators’ in constructing meaning with diverse means, Lena Redman (December, 2016).

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Fig. 11

‘Discovering’ my own past by representing it with the existing objects and memories, Lena Redman (February, 2016).

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Fig. 12

A slide-show of some pages from the thesis written with images, sounds and movements in an ePub format, Lena Redman (February, 2019).

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Fig. 13

Connecting the dots of associations, memories and newly collected information, Lena Redman (August, 2016).

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Fig. 14

Making connections between the crows and pipe smoke, Lena Redman (May, 2016).

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Fig. 15

Imaginary meeting with the fathers of communism, Lena Redman (May, 2015).

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Fig. 16

Sanctification of Lenin by the use of fear and oppression, Lena Redman (April, 2016).

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Fig. 17

‘Cut-outs’ from the pages of the thesis, Lena Redman (May, 2016).

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Fig. 18

A record ‘on bones’, Lena Redman (April, 2016).

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Fig. 19

The Beatles shook the Kremlin’s walls, Lena Redman (May, 2016).

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Fig. 20

Inspired by The Beatles, running the Soviet Union, Lena Redman (September, 2016).

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