[HREF8] 
[HREF9] Examples 1 and 2. Websites that are more like a book Margaret Turner: Lecturer in Electronic Media, Computer Based Art and Design, Arts Faculty, University of the Sunshine Coast, Locked Bag No 4, Mooloolaba, Qld 4558, Australia. mturner@usc.edu.au
In an information rich world, the typical Web visitor has a severely rationed attention span. The Web interface is a doorway to a complexity of information which can not be all equally relevant to every visitor. Except in certain circumstances, the visitor does not have the leisure for adventure learning or trial and error clicking. Current interface design fails adequately to represent the scope of the content of the site to the average visitor. It is necessary to provide a Web site visitor with a sense of being in control of their use of a site and this can start to be achieved through thoughtful and integrated interface and navigation design. Rather than relying on novelties, designers must find new visual ways to map the information on the screen, ways which will add value to content and to the visitor's experience. There are other key components to successful communication, but the purpose of this paper is to discuss the issues that relate particularly to the visual design.
The issue for successful communication via the World Wide Web is how to present information for electronic display so that it can quickly, easily and pleasurably be understood and accessed.
Pleasure is related to our cognitive success, particularly our ability to find what it is we want and, where we have had a pleasureable experience, we will return. "The perception of patterns in sensory phenomena is a cause of pleasure for humans" (Laurel, B. 1993.). There is much rhetoric that solving the problems of bandwidth and speed will solve the problems of cognitive success but speed is only the surface of the problem. As each viewer is already overrun with information and has available only a strictly rationed attention span, (Davenport, T. 1998)[HREF1] the volumes of information and the speed with which they can be accessed are irrelevant if the information is not presented in a way that makes it quickly understandable. To facilitate successful communication within this small window of opportunity, we need to find new and adequate visual ways to present information. The content needs to be presented in such a way that the interface acts as a map of the structure and clearly conveys the complexity of the content, it's internal differences and connectedness. This is not a simple task and it is different to the way we have traditionally presented information in print media. It requires a "front door" in which the content is visualised in a spatial rather than heirarchical interface into which a navigation system is visually integrated. Provided they regard the differences inherent in the new medium, visual designer's with their considerable knowledge of communication design, have an important role in the process of designing a display medium which is still discovering its form.
Good visual design can add value to Web content by providing an interface that is a cognitive map of the content and thus facilitates successful and pleasureable use. In an earlier paper I referred to the then current state of graphic design of the World Wide Web suggesting that there was a need carefully to consider the structure of the internet before any visual design could take place (Turner,M. 1999, p.) [HREF2]. The internet is not a book in electronic form, the structure is fundamentally different. This paper builds on those principles and looks at how design of interface and navigation needs to adequately reflect the non-sequential networked structure of the internet in order to provide a visitor with cognitive success and a satisfying Web experience.
To this end I look at the phenomena of narrative Web navigation, how it has been shaped by 600 years of the book, how non-linear narrative can expand the boundaries of linear-built knowledge, how important navigation is to a satisfying Web experience and how it needs to be fully integrated into the interface design, not be an afterthought to a handsome "look". I argue strongly against the use of a list as the primary interface/navigation device because it does not map the content on the interface in an easily accessible way. The interface too often is designed without any consideration of the kinds of content that it is door to. To be successful, an interface will be built on a solid understanding of the content of the site and how it connects, and will bridge the gap between human and machine. It will act as a cognitive map to the content, finds ways clearly to convey complex information and facilitate the narrative function of links.
In these ways I argue that through good visual design, the visitor's experience of the site will be more knowledgeful and more independent and thus more successful. The final part of the paper talks about how to design effectively for these issues with examples taken from student designer's work. I find it pertinent, at the start of this paper, to define some of the terms I use in order to locate my argument. As it is intended to inform pragmatic design outcomes my use of terms is proceedural rather than philosophic. (Skip Definitions - go straight to argument)
Design is concerned with the relationship between elements within a space. A single element on its own has no design value. Only when a second element is added to its vicinity do both acquire design values. Design is not about the element in itself but about the relationship between two or more elements. By improving the relationship between the elements, good design adds value to the individual elements when taken as a whole.
Note: Within an element there can be design values made up of the relationship between the component parts.
We are most familiar with the term design when it is used to describe the arrangement of visual elements on a page, but we can also talk of design, as defined above, in relation to information. Blocks of text in an essay, a novel or a software manual are in relationship one with the other. It is this relationship that builds the sense of the whole, (an argument, a plot or do this in order to do that). It is this relationship we design. That we design information becomes more apparent in a hypertext document where the paragraphs of text are separated in space and time and there can exist not one but several paths linking the same texts. The process of design is to form or organise the chunks into meaningful clusters that make clear the internal relationships between its parts and the relationships between the clusters. Concept mapping, brain storming, lotus and mind maps, are all useful in information design.
Web documents are hypertext documents. Hypertext a term coined by Ted Nelson in his 1965 paper to the ACM 20th national conference, means "nonsequential writing - text that branches and allows choice to the reader, best read at an interactive screen" (Feizabadi, S.1996)[HREF3]. A hypertext document exists in electronic relationship to a number of other hypertext documents, which might be at the same location but equally could reside in a 100 different locations around the world. The hypertext document is connected to all the other documents, not physically as in a book binding, but electronically in a hyperlink. The defining element of a hypertext structure is the link.
Links are the paths that connect hypertext documents. They are "the traversable connection between two nodes." (Keep and McLaughlin, 1995)[HREF4]. But links have more than just a mechanical (or rather electronic) function, they control access to information. They are "associative relations that change, redefine, and enhance or restrict access to the information they comprise" (Burbules In Snyder, 1997, p103). In a Web document the link is one way, it can go to one only possible destination whereas other hypertext systems allow for more flexible linking. Multiple destination links will no doubt emerge in the Web future. Burbules calls it the "link event" that fleeting transition moment when the visitor clicks on a link in the html document and a second document, the target document, appears on screen in place of the former (in Snyder,1997 p104 ) . Because it is fleeting, its importance can be ignored, yet much of the meaning of information will be conditional on the positioning of the link within the design of the interface, its label and its activity if any. A link is as important as the information it is window to: "the significance of links in a hypertextual environment is often underestimated...links are regarded simply as matters of ... convenience. Their ease of use makes them seem merely shortcuts and subservient to the important things, the information sources they make available". (Burbules in Snyder, 1997 p 104). Burbules is writing about an emerging hypertext literacy, but visual designers must similarly be concerned.
Navigation is to steer a course through a medium. (Merriam-Webster, 1999)[HREF5]. The act of clicking on links to move through related documents is called navigation. Navigation through a series of linked documents becomes a narrative or sense-making device.
Narrative is something that is narrated, it comes from the practice of narrating a story. (Merriam-Webster)[HREF5]. Narrative is a structure. In books, probably because of the inherent physical properties of a book, narrative assumes a fundamentally linear and hierarchical >organisation of information. Linear narrative has a beginning middle and end, it is sequential, the "chunks of text" have a "causal association" (Burbules in Snyder ,1997, p.106-109). Narrative does not have to be linear or sequential. On the Web, narration and navigation fuse. There is not one story or narrative but a host. Each time a link is clicked a path between documents is "read" and a flavour of meaning about the association of those chunks of data is established.
A door handle is an interface, so too is a telephone and a library catalogue. The interface is the place where different things meet and make contact. The more difference in the two things that are being brought into contact, the more pressing the need for good visual design, "the less alike these two entities are the more obvious the need for a well-designed interface becomes."(Laurel,B. 1990). For the purposes of the Web the Interface we are designing for is the one where human and computers meet and communicate, where the cool number-crunching world of the computer meets the emotional, cognitive world of the visitor. The interface is not just the screen it includes other points of contact like keyboards, mice, trackpads. (Johnson-Eilola, in Snyder 1997, p.190).
A front door in this context is the first interface a visitor encounters when entering from the home URL. A more used term for this interface is home page. While I have no real issue with the term "home" in this context, I believe that page is misleading in that it uses as metaphor a term that disguises to the visitor the complexity of difference between a linear and non-linear structure. Front door on the other hand conveys the idea that this it is an opening, a beginning, an access way to a space that is segmented, wherein are housed a multitude of activities and meanings.
Throughout this paper I use the word "visitor" to denote the person who is reading/using/surfing a Web site, the person who is the "target audience" of a Web site. The word "visitor" best typifies for me the current quality of relationship between the Web content, the client company and the visitor. I would like to see this relationship becoming more active than at present, but at this moment in time interaction is not in any true sense part of the web experience. Other terms commonly used for this person are user, surfer, reader, customer, audience member.
Revolution is a sudden, radical, or complete change (Merriam-Webster,1999) [HREF5] and the Internet, because it is a distributed network where anything can be connected to anything else no matter where it lies in time and space, has the potential radically to change, not just the way we do business, but also assist the way we think and make sense of the world in which we live. It is a tool that we have yet to fully understand and know how to use: "the more we cultivate it as a tool of serious enquiry... it will offer itself as both an analytic and synthetic medium." (Murray, JH. 1997, p.7.) and it is more than a tool as it opens us to new ways of doing and thinking: "other ways of working with these ... technologies, open different doorways" (Johnson-Eilola J. in Snyder, p.190).
Ted Nelson's vision of Xanadu, (Feizabadi,S. 1996)[HREF3] a network to which all information of the world might some day be linked and thus demonstrate the interconnectedness of all knowledge, set the pace for the Web. Already vast databases of information in the care of libraries and librarians are being made available to Web access in various globally standardized referencing initiatives like Dublin core, ASF - Advance Search Facility, and GILS - Global Information Locator Service [HREF6]. The mechanics of the process are being put in place as we speak, but the problem of intelligently (knowledgeably) accessing such an overwhelming bounty of riches is still to be adequately addressed.
At its most basic, information is presented as a stream of data in which the connections and similarities are not obvious. It is these connections and similarities, the relationships, that assist the visitor to make sense of information. In the "about" to "Ted Nelson's Birthday Card", Roy Stringer and Roger Hamden say "Information, meaning and understanding lie predominantly in the connections not in the words themselves".(1997) [HREF7]. An alphabetical list is such a stream of data that does not assist in meaning-making. It is hard to digest. What is the connection say between Book, Branch and Credit? On the Web visitors are not looking for isolated bits of data. Isolated data require more attention in order to make a sense of them. Visitors are looking for data in relationship, relationships that make plain how it is or will be valuable to them. When clustered into like groups or themes and displayed in ways that highlight the difference and the connections between the clusters or themes, information is easier to comprehend. The reader gets more value in less time. This process of mapping the prominent clusters of information in ways that display something of the relationships between the clusters, is information design.
Print media is a designed presentation of information based on established design conventions. These conventions derive from the scroll. Like an audio cassette, a rolled parchment needed to be 'scrolled' through from the beginning in order to find the place where a discrete piece of information was placed. First the codex, then the book were designed on similar linear conventions of progressively unfolding information over time.
[HREF8] [HREF9] Examples 1 and 2. Websites that are more like a book
In the book, the table of contents and indexes facilitated a non-linear, more direct way of accessing discreet informations than was possible in a scroll. Like a scroll, it is usual for all the pages held within the binding covers of a book to be thematically united. They demonstrate a belonging. Magazines, particularly teenage magazines, are probably the closest print media gets to the 'flatness' the diversity of the internet. A magazine reader can read from front to back but browsing is more usual and the design of the magazine encourages the reader to open it anywhere to read or flip through grabbing the stories from the pictures. 
[HREF11] Example 3. IDEO. A web page more like a magazine
Narrative does not have to be linear or sequential. In aural narratives of some pre-literate nomadic cultures, the connections between themes are not standardised or unchanging. Like the nomad, the connections or "paths are to be made anew every day" (Berry, W.1985, p.146) to suit the context of the telling. "We do not pass tales linearly but experience them multiply, simultaneously" (Johnson-Eilola,J. in Snyder p 185.) It would appear that before the printing press standardized the linear format, this multiple reading of stories was a skill we all had, that in fact we had to be trained to accept and write with the authoritative voice of the single narrative. The de-centered, distributed Internet is like that early polyphonic (many-voiced) story telling. It is more like speaking than writing and it facilitates aplurality of paths between chunks of data that are not necessarily thematically related. (See The Lake, Turner,M.1999 [HREF2a]) The paths form, often temporary, associative connections. The document that lies at the end of a link may have strong or weak thematic relationships to the source document, and this thematic connection depends as much on the visitor's quest as on the design of the link. This non-sequential structure offers both challenges and opportunities. By building on the disciplined structure we have learned though the linear book, we can expand, vastly multiply, the kinds of working assumptions that are our paths of meaning-making. As Douglas points out "the beauty of hypertext is ..that it propels us from a straightened 'either/or' world that print has come to represent and into a universe where the 'and/and/and' is always possible" (in Snyder, 1997, p155)
The Web visitor needs to be assisted in the transition from linear to polyphonic narrative and it is for these reasons that strongly defined navigation is essential on the Web. The way in which information is displayed on the opening interface or front door, and subsequent interfaces of a Web site, conditions the kinds of understandings that a visitor gains. By mapping the information spatially in clusters of connectivity on the monitor screen, value is added. In other words the way the links are arranged on the opening interface, the way the links form their own identity, assists or enhances the visitors cognition, and hence pleasure, of the data in the site. An interface must provide sufficient information about the link destination in order for the visitor to make an informed choice of direction: "Readers must make decisions on which link to follow based on the available information at the current node. Where the links are embedded in the main text, the (links) must serve not only as part of the discourse, but also as sufficient indicators of the link destination. This places a double burden on the anchor contents; it must convey both semantic and structural information succinctly." (Keep and McLaughlin, 1995 [HREF4]).
Attention to the way navigation acts as a "narrative" structure for Web content, means we can go beyond the encyclopedic/search engine experience of navigation. An encyclopaedia joins fragments of information in an arbitrary way that does not add up to a coherent whole: "the computer is often accused of fragmenting information" (Murray, JH. 1997, p.7). An encyclopaedia is not usually read for pleasure. The organisation of an encyclopaedia is based on a list. A list is not a narrative device. A list is useful as a secondary or back up method of navigation, but does not serve the interests of the content or the business client if used as the primary means of getting round a site. It is an inadequate design solution because it gives no clue as to the choice of its priority and organisation. A simple list can not even be copyrighted because it displays insufficient intellectual property. (Data Access Corporation v Powerflex Services Pty Ltd)[HREF10] Because a list cannot contextualise the information it usually means the visitor has to click more often to get to what they want, they have to trial and error their way to the right spot. On the other hand a well contextualised set of links on the front door will facilitate the visitor to their destination very quickly.
[HREF12] Example 4. A page which employs a list as navigation, together with a suggested alternative.
When designing navigation, appropriate and possibly multiple entry and exit points need to be mapped, together with optional paths through the data. Navigation needs to provide clear, consistent direction with options to suit different visitors, short paths to valued content and facilitate different levels of browsing. It needs to be easy and quick to use and consistent throughout the site. It is clear that navigation is important to a satisfying Web experience. It is important too that it be fully integrated into the interface design.
The Web requires that we find new and adequate visual ways to present information. The Web was born of a need identified by academics and researchers. and thus it bypassed the conventions of professional interface design and almost immediately entered the public authoring domain. As a consequence, Web interfaces today are the scene of enthusiastic but untrained virtuosities that by and large fail in the task of adequately conveying information. Interfaces can flash and sing and scroll past our eyes, but these novel devices do not enhance the visitor's cognition of the site. Burbules bemoans the: "seductive character of multimedia Web design much of which (such as animated icons, snatches of music...or links that flash on and off) has more to do with attracting and holding flagging attention of casual visitors than with communicating anything useful": (In Snyder, 1997, p.118.) Visitors have been observed covering a flashing icon so as to be able to read other content without distraction. This state of affairs is to be expected. It took 50 years of trial and error before the book, as we know it today, took its shape after the invention of the press by Gutenberg c1448. [HREF13] Those first experiments are known as incunabula to "indicate that these books are the work of a technology still in its infancy" (Murrary,JH. 1997, p.28). The World Wide Web is only six years old. It still does not look anything like what it will become in perhaps as few as another five years, more likely another ten.
Those flashing novelties and movies most often cover the designer's lack of consideration of the content contained in the site. Superb 3D graphics are merely lists in disguise, supposed to provide the context and navigation and, as stated above, a list is not good at either. Speed and bandwidth are often thought to be the solution but pumping more images and more sound more quickly will only add to information overload. We don't need more, we need better quality, we need better ways to present what there is with clarity. No matter how beautiful the interface, if it does not assist the visitor to the pertinent information, then it fails.
It is useful to think of the interface as providing a cognitive map of the territory to be encountered in the site. Displaying information on a surface, in a way that takes account of its multiple and contingent relationships, is common in a spread sheet but very new as a means of providing access to information of a more narrative kind to a lay audience. Visitors are more used to information that is stored in nested hierarchies, which unfold over time as they move through and down the information tree. It is a way of representing information, firmly rooted in historical precedence, that makes older visitors most comfortable. A skill of navigation for this kind of representation is focus and exclusion. Finding a "needle in a haystack", and "one speaker at a time" are concepts that are normal for this kind of knowledge building. (Johnson-Eilola J. in Snyder p.204) Younger visitors, however, are learning a new way of accessing and processing information, the computer game. A way concerned with surface rather than history. (Johnson-Eilola J. in Snyder,p.188). The information in a game is displayed in a spread on the surface of the screen the variables in constant flux, to be read and acted upon before there is in-depth processing or understanding. The point is, both these kinds of perception are relevant even necessary in the 21st century and both can be catered for on a Web site. While "representing information across broad flat surfaces is an apparent repudiation of historical distinctions between appearance and true content. "(Johnson-Eilola in Snyder, 1997, p195) it is an opportunity provided by the Web interface to expand the way in which things are known to be done, to open different doors.
There is a surface that younger and older visitors alike read, where a complexity of changing data is organised in patterns that we can be trained easily to recognise. Consider the windscreen.
Figure 1: Consider the Windscreen
A windscreen requires a diffuse rather than focussed vision, an overview rather than detailed look. Areas of "content" are distributed across the windscreen, for instance the cars in front and opposing, speed signs, pedestrians, trees and buildings, traffic lights. We also have to pay attention to things around the screen for example the rear vision mirrors, the fuel gauge and the speedometer. Our hands are on the steering wheel through which we are responding to the feel of the road. Then there are the extra-procedural things like the radio and the passengers and the fuzziness of non-machinic informations they bring. We constantly scan the imput from all these sources of information and most of us learn to do so without a second thought as to its complexity. What assists us in the complexity is the ordered pattern of information. There are areas of the screen where we can expect to find certain clusters of behavior, these clusters have relationships to each other which we instinctively understand.
Think then of the front door of the Web site as the overview of the site's content. See the computer screen as a window on to a non-linear space where information does not stay still, but will have different relationships each to the other according to time and use. The more clues that are provided the more understanding the visitor will have of the particular piece they choose to read because they have a sense of the whole. Not all readers want to know the whole before they dip beneath the surface but a great many others will find it the quickest way to get value. The aim of a well-designed interface is to present a complexity of information with clarity and for the visitor to reach the required information with as few clicks as possible. In order to do this the interface needs to bridge the gap between human and machine, act as a cognitive map to the content, clearly convey complex information and facilitate the narrative function of links. 
[HREF14]
[HREF15] Example 5 and 6
Though my ideas of a "windscreen" are yet to see the light of day specifically in design, sites like 'ArtsInfo" and "FAO Schwarz" are an example of a web interface that considers the distributed and inter-relational nature of its contents in ways that adds value to the navigation and content.
As discussed above, there are several key issues for visual designers in designing for a successful and pleasurable Web experience. Navigation, because it is the joining narrative, the sense-making glue if you like, between the disparate sites of data in this non-sequential, networked medium, must be considered as an integral, even structural part of the interface. The meaning of the information will be built on the positioning of the link within the design of the interface.
Use maps and models to organise the content visually, to layout the relationships between individual pieces and clusters of information, to indicate the nature of links between individual and clusters of information, key or incidental, and to show possible entry points and options for paths to be taken.
One might for example see that the content of a site falls roughly into two - core sales business and services offered to customers. Sales and service are organisational categories rather than meaningful knowledge building categories. Simply offering these two as buttons on a front door would not assist consumers to find the goods in the site - they will understand the word "sales" plainly enough, but what does "services" actually mean. The question for the designer is "what is function of the two main areas?" Under core business which is, say, selling CDs, we want visitors to buy. In this area we need to cater for a shopping cart, a search engine for titles and artists, secure credit card facilities, order forms, product descriptions, a listening room, etc. Under the "services" area, we are providing say a list of upcoming concerts, a site for Web chat with visiting celebrities, a listening room, a place to look at different community initiatives by artists, maybe some networking for bands who would like to record with our label. (Note that there is one item that appears in both lists.)In this case the interface would be divided into two main areas.
Figure 2: First level models: a. primary division of content. b. detail.
These two areas would each be further divided to indicate the areas of content they give access to. In these divisions one can indicate relative importance. If sales is the most important it could be the biggest half of the screen, or the brightest, hottest colour. It may be, however, that while the client considers sales to be the most important part of their business, they will achieve this best by emphasising the services. Thus the design may have the services area of the screen taking visual precedence. There are a variety of design devices to indicate importance, among them size, colour and contrast. A simple decision to divide an interface in two is not a limit but a beginning.
Figure 2: Boxes can indicate relative importance by size. Size can indicate different things.
The boxes (left) indicate importance of sales as core business. The boxes (right) indicate services as priority for the design of content for the web site.
Figure 3: The screen shape on the left is divided in two, on the right, the same division of space provided by an image.
Colour and shape combine to create two distinctly different areas for content.
My experience with student designers is that those who design an interface by first mapping and modeling the information in the site produce more original work. Currently there is a tendency for Web designers to produce the same interface structure for every job, though the image, the type face and the colour is changed. By working from the structural mappings, the designer obtains visual clues that suggest an infinite variety of ways to proceed.
Example 6. The task for these students was to cluster the information contained in the site, then base the design of the interface on the clustering that distributed the various content across the field of the screen. The challenge is to convery difference within continuity. The user needs to understand the content is all part of a whole at the same time as they are given an understanding of the different purpose of the different types of content
These examples are by first semester Design students at University of the Sunshine Coast. Left, top: Jill Lawson, bottom: Kerry-Dee Macdonald; right, top:Keith Tarrier, bottom:Mark New.
Caroline Anderson, a second semester Design student at USC, designed this autobiographical site on the principle of the interface reflecting or mapping the content structure of a site.
This front door establishes that there are four main areas of content, it is a good looking front door that gives fast access to content. A simple solution; clean and elegant, it can be animated or support rollovers for high-band versions. The design follow-through in second and subsequent levels maintains continuity as well as establishing difference between the various types of content. It also has an excellent site map.
Click on the image to visit Caroline's Autobiography. Use the back button to return to this conference paper.
[HREF16]
Example 7. Caroline Anderson's Autobiography.
Making Web adventuring a pleasurable experience so that customers want to return needs to be the key aim of Web design. No one can predict how the Web industry will resolve the visual designer's demands for drop and drag authoring software as it tries adequately to respond to Cascading Style Sheets and XML. It's a suck-and-see, lead-and-follow, uncertain future as we wonder how to display content variously on mobile phones, microwave ovens and TV. What we can do now is consider the enduring rather the transitory design problems. The crucial issue is how to think about information in a new way, a way purpose-built for delivery over a networked system, a system that repays rapid sampling over a wide field rather than deep excavation through linear structures. As Web designers take advantage of the polyphonic (multi-voiced) capacity of the Internet they can produce designs that add value to content. Such designs will reflect structures of content, map the relationships between clusters of content and clarify complexities of information. The navigation devices will be integral with the look and feel.
The web is new, it won't replace old systems because they are too valuable, but it will add to and enhance them, so long as designers are willing to envision the possibilities and make them visual.
Amaze.com 1997. Amaze's original shockwave site [HREF5]
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Davenport, T. We've got to pay attention. Nov 1. 1998, CIO magazine. [HREF1]
Data Access Corporation v Powerflex Services Pty Ltd, HIGH COURT OF AUSTRALIA [HREF8]
Dervin, B.1999 Chaos Order and Sense Making: a Proposed theory for Information Design, MIT Press, Cambridge, Massacheusetts.
Douglas, JY. Hyptertext, Argument and Relativism, in Snyder I. Ed Page to Screen:Taking literacy into the Electronic Era. 1997, Allen and Unwin, Sydney, Australia.
Feizabadi, S. History of the World Wide Web. History of Hypertext, in WWW Beyond the Basics, 1996 Virginia PolytechnicInstitute State University. [HREF3]
Johnson-Eilola J. Living on the Surface: Learning in the Age of Global Communication Networks. in in Snyder I. Ed Page to Screen:Taking literacy into the Electronic Era. 1997, Allen and Unwin, Sydney, Australia.
Keep & McLaughlin, The Rhetoric of Link Traversal, 1995. The Electronic Labyrinth, Hypertext Fiction Research Group. [HREF4]
Laurel B. Editor, The Art of Human Computer Interface Design 1990, Addison Wesley, Reading, Massachusetts.
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Merriam-Webster, WWWebster Dictionary 1999 [HREF 5]
Murray, J H. Hamlet on the Holodeck: the Future of Narrative in cyberspace. MIT Press Cambridge, Massachusetts.
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Stringer. R, and Hamden. R,1997 Ted Nelsons Birthday Card,[HREF7]
Turner M, 1998, Fundamental Web Design Principles? Proceedings AUSWEB99, 19989, Southern Cross University, Qld Australia.[HREF2]
Margaret Turner, © 2000. The author assigns to Southern Cross University and other educational and non-profit institutions a non-exclusive licence to use this document for personal use and in courses of instruction provided that the article is used in full and this copyright statement is reproduced. The author also grants a non-exclusive licence to Southern Cross University to publish this document in full on the World Wide Web and on CD-ROM and in printed form with the conference papers and for the document to be published on mirrors on the World Wide Web.
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