This page lists all the HTML elements, which are created using tags. They are grouped by function to help you find what you have in mind easily. An alphabetical list of all elements is provided in the sidebar on every element's page as well as this one. Metadata contains information about the page. This includes information about styles, scripts and data to help software (search engines, browsers, etc.) use and render the page. Metadata for styles and scripts may be defined in the page or link to another file that has the information. Content sectioning elements allow you to organize the document content into logical pieces. Use the sectioning elements to create a broad outline for your page content, including header and footer navigation, and heading elements to identify sections of content. Use HTML text content elements to organize blocks or sections of content placed between the opening <body> and closing </body> tags. Important for accessibility and SEO, these elements identify the purpose or structure of that content. Use the HTML inline text semantic to define the meaning, structure, or style of a word, line, or any arbitrary piece of text. HTML supports various multimedia resources such as images, audio, and video. In addition to regular multimedia content, HTML can include a variety of other content, even if it's not always easy to interact with. You can embed SVG and MathML content directly into HTML documents, using the <svg> and <math> elements. In order to create dynamic content and Web applications, HTML supports the use of scripting languages, most prominently JavaScript. Certain elements support this capability. These elements let you provide indications that specific parts of the text have been altered. The elements here are used to create and handle tabular data. HTML provides a number of elements which can be used together to create forms which the user can fill out and submit to the Web site or application. There's a great deal of further information about this available in the HTML forms guide. HTML offers a selection of elements which help to create interactive user interface objects. Web Components is an HTML-related technology which makes it possible to, essentially, create and use custom elements as if it were regular HTML. In addition, you can create custom versions of standard HTML elements.
Warning: These are old HTML elements which are deprecated and should not be used. You should never use them in new projects, and you should replace them in old projects as soon as you can. They are listed here for completeness only. Hypertext is text displayed on a computer display or other electronic devices with references (hyperlinks) to other text that the reader can immediately access.[1] Hypertext documents are interconnected by hyperlinks, which are typically activated by a mouse click, keypress set, or screen touch. Apart from text, the term "hypertext" is also sometimes used to describe tables, images, and other presentational content formats with integrated hyperlinks. Hypertext is one of the key underlying concepts of the World Wide Web,[2] where Web pages are often written in the Hypertext Markup Language (HTML). As implemented on the Web, hypertext enables the easy-to-use publication of information over the Internet.
The English prefix "hyper-" comes from the Greek prefix "ὑπερ-" and means "over" or "beyond"; it has a common origin with the prefix "super-" which comes from Latin. It signifies the overcoming of the previous linear constraints of written text. The term "hypertext" is often used where the term "hypermedia" might seem appropriate. In 1992, author Ted Nelson – who coined both terms in 1963 [3][4]– wrote:
Hypertext documents can either be static (prepared and stored in advance) or dynamic (continually changing in response to user input, such as dynamic web pages). Static hypertext can be used to cross-reference collections of data in documents, software applications, or books on CDs. A well-constructed system can also incorporate other user-interface conventions, such as menus and command lines. Links used in a hypertext document usually replace the current piece of hypertext with the destination document. A lesser known feature is StretchText, which expands or contracts the content in place, thereby giving more control to the reader in determining the level of detail of the displayed document. Some implementations support transclusion, where text or other content is included by reference and automatically rendered in place. Hypertext can be used to support very complex and dynamic systems of linking and cross-referencing. The most famous implementation of hypertext is the World Wide Web, written in the final months of 1990 and released on the Internet in 1991. In 1941, Jorge Luis Borges published "The Garden of Forking Paths", a short story that is often considered an inspiration for the concept of hypertext.[5] In 1945, Vannevar Bush wrote an article in The Atlantic Monthly called "As We May Think", about a futuristic proto-hypertext device he called a Memex. A Memex would hypothetically store — and record — content on reels of microfilm, using electric photocells to read coded symbols recorded next to individual microfilm frames while the reels spun at high speed, and stopping on command. The coded symbols would enable the Memex to index, search, and link content to create and follow associative trails. Because the Memex was never implemented and could only link content in a relatively crude fashion — by creating chains of entire microfilm frames — the Memex is now regarded only as a proto-hypertext device, but it is fundamental to the history of hypertext because it directly inspired the invention of hypertext by Ted Nelson and Douglas Engelbart. Ted Nelson gives a presentation on Project Xanadu, a theoretical hypertext model conceived in the 1960s whose first and incomplete implementation was first published in 1998.[6] In 1963, Ted Nelson coined the terms 'hypertext' and 'hypermedia' as part of a model he developed for creating and using linked content (first published reference 1965).[7] He later worked with Andries van Dam to develop the Hypertext Editing System (text editing) in 1967 at Brown University. It was implemented using the terminal IBM 2250 with a light pen which was provided as a pointing device.[8] By 1976, its successor FRESS was used in a poetry class in which students could browse a hyperlinked set of poems and discussion by experts, faculty and other students, in what was arguably the world's first online scholarly community[9] which van Dam says "foreshadowed wikis, blogs and communal documents of all kinds".[10] Ted Nelson said in the 1960s that he began implementation of a hypertext system he theorized, which was named Project Xanadu, but his first and incomplete public release was finished much later, in 1998.[6] Douglas Engelbart independently began working on his NLS system in 1962 at Stanford Research Institute, although delays in obtaining funding, personnel, and equipment meant that its key features were not completed until 1968. In December of that year, Engelbart demonstrated a 'hypertext' (meaning editing) interface to the public for the first time, in what has come to be known as "The Mother of All Demos". ZOG, an early hypertext system, was developed at Carnegie Mellon University during the 1970s, used for documents on Nimitz class aircraft carriers, and later evolving as KMS (Knowledge Management System). The first hypermedia application is generally considered to be the Aspen Movie Map, implemented in 1978. The Movie Map allowed users to arbitrarily choose which way they wished to drive in a virtual cityscape, in two seasons (from actual photographs) as well as 3-D polygons. In 1980, Tim Berners-Lee created ENQUIRE, an early hypertext database system somewhat like a wiki but without hypertext punctuation, which was not invented until 1987. The early 1980s also saw a number of experimental "hyperediting" functions in word processors and hypermedia programs, many of whose features and terminology were later analogous to the World Wide Web. Guide, the first significant hypertext system for personal computers, was developed by Peter J. Brown at the University of Kent in 1982. In 1980, Roberto Busa,[11] an Italian Jesuit priest and one of the pioneers in the usage of computers for linguistic and literary analysis,[12] published the Index Thomisticus, as a tool for performing text searches within the massive corpus of Aquinas's works.[13] Sponsored by the founder of IBM, Thomas J. Watson,[14] the project lasted about 30 years (1949-1980), and eventually produced the 56 printed volumes of the Index Thomisticus the first important hypertext work about Saint Thomas Aquinas books and of a few related authors.[15] In 1983, Ben Shneiderman at the University of Maryland Human - Computer Interaction Lab led a group that developed the HyperTies system that was commercialized by Cognetics Corporation. Hyperties was used to create the July 1988 issue of the Communications of the ACM as a hypertext document and then the first commercial electronic book Hypertext Hands-On! In August 1987, Apple Computer released HyperCard for the Macintosh line at the MacWorld convention. Its impact, combined with interest in Peter J. Brown's GUIDE (marketed by OWL and released earlier that year) and Brown University's Intermedia, led to broad interest in and enthusiasm for hypertext, hypermedia, databases, and new media in general. The first ACM Hypertext (hyperediting and databases) academic conference took place in November 1987, in Chapel Hill NC, where many other applications, including the branched literature writing software Storyspace, were also demonstrated.[16] Meanwhile, Nelson (who had been working on and advocating his Xanadu system for over two decades) convinced Autodesk to invest in his revolutionary ideas. The project continued at Autodesk for four years, but no product was released. In 1989, Tim Berners-Lee, then a scientist at CERN, proposed and later prototyped a new hypertext project in response to a request for a simple, immediate, information-sharing facility, to be used among physicists working at CERN and other academic institutions. He called the project "WorldWideWeb".[17]
In 1992, Lynx was born as an early Internet web browser. Its ability to provide hypertext links within documents that could reach into documents anywhere on the Internet began the creation of the Web on the Internet. As new web browsers were released, traffic on the World Wide Web quickly exploded from only 500 known web servers in 1993 to over 10,000 in 1994. As a result, all previous hypertext systems were overshadowed by the success of the Web, even though it lacked many features of those earlier systems, such as integrated browsers/editors (a feature of the original WorldWideWeb browser, which was not carried over into most of the other early Web browsers). Besides the already mentioned Project Xanadu, Hypertext Editing System, NLS, HyperCard, and World Wide Web, there are other noteworthy early implementations of hypertext, with different feature sets: Hypertext Editing System (HES) IBM 2250 Display console – Brown University 1969
Among the top academic conferences for new research in hypertext is the annual ACM Conference on Hypertext and Hypermedia.[18] Although not exclusively about hypertext, the World Wide Web series of conferences, organized by IW3C2,[19] include many papers of interest. There is a list on the Web with links to all conferences in the series.[20] Hypertext writing has developed its own style of fiction, coinciding with the growth and proliferation of hypertext development software and the emergence of electronic networks. Two software programs specifically designed for literary hypertext, Storyspace and Intermedia became available in the 1990s. An advantage of writing a narrative using hypertext technology is that the meaning of the story can be conveyed through a sense of spatiality and perspective that is arguably unique to digitally networked environments. An author's creative use of nodes, the self-contained units of meaning in a hypertextual narrative, can play with the reader's orientation and add meaning to the text. One of the most successful computer games, Myst, was first written in Hypercard. The game was constructed as a series of Ages, each Age consisting of a separate Hypercard stack. The full stack of the game consists of over 2500 cards. In some ways, Myst redefined interactive fiction, using puzzles and exploration as a replacement for hypertextual narrative.[21] Critics of hypertext claim that it inhibits the old, linear, reader experience by creating several different tracks to read on, and that this in turn contributes to a postmodernist fragmentation of worlds. In some cases, hypertext may be detrimental to the development of appealing stories (in the case of hypertext Gamebooks), where ease of linking fragments may lead to non-cohesive or incomprehensible narratives.[22] However, they do see value in its ability to present several different views on the same subject in a simple way.[23] This echoes the arguments of 'medium theorists' like Marshall McLuhan who look at the social and psychological impacts of the media. New media can become so dominant in public culture that they effectively create a "paradigm shift"[24] as people have shifted their perceptions, understanding of the world, and ways of interacting with the world and each other in relation to new technologies and media. So hypertext signifies a change from linear, structured and hierarchical forms of representing and understanding the world into fractured, decentralized and changeable media based on the technological concept of hypertext links. In the 1990s, women and feminist artists took advantage of hypertext and produced dozens of works. Linda Dement's Cyberflesh Girlmonster a hypertext CD-ROM that incorporates images of women's body parts and remixes them to create new monstrous yet beautiful shapes. Dr. Caitlin Fisher's award-winning online hypertext novella "'These Waves of Girls" is set in three time periods of the protagonist exploring polymorphous perversity enacted in her queer identity through memory. The story is written as a reflection diary of the interconnected memories of childhood, adolescence, and adulthood. It consists of an associated multi-modal collection of nodes includes linked text, still and moving images, manipulable images, animations, and sound clips. Forms of hypertextThere are various forms of hypertext, each of which are structured differently. Below are four of the existing forms of hypertext:
Look up hypertext in Wiktionary, the free dictionary.
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Page 2This article needs additional citations for verification.(August 2011) 1Up.com was an American entertainment website that focused on video games. Launched in 2003, 1Up.com provided its own original features, news stories, game reviews, and video interviews, and also featured comprehensive PC-focused content. Like a print magazine, 1Up.com also hosted special week-long online cover stories that presented each day a new in-depth feature story, interview with the developers, game screenshot gallery, game video footage, and video of the game studio and creators. On February 21, 2013, Ziff Davis announced it would be winding down the site, along with sister sites GameSpy and UGO.com.[1] Screenshot
Type of site 1Up Network was a collection of podcasts hosted by 1Up.com dealing with various aspects of gaming. Most of the shows, like 4 Guys 1Up, were about games and general gaming culture. Others were more specific, such as The Sports Game Guy's Sports Anomaly, which focused on sports games. The network also featured Retronauts, an audio retrospective series that chronicled various retro games and game series. The network had shown significant growth, with several new shows having been introduced in 2007–2008. However, in early 2009 1Up.com was purchased by UGO and its parent company Hearst Corporation from Ziff Davis.[2][3] This resulted not only in the closure of Electronic Gaming Monthly, but also the loss of over 30 jobs, including several hosts and producers of the site's many podcasts.[4] Because of this, more than half of the network's shows were abruptly discontinued, leaving only a few remaining. While 1Up Yours did not cease to exist, the resignation of the show's co-host Shane Bettenhausen led host Garnett Lee to change the show's name and structure to Listen UP. Several former employees also started their own projects after the firings as well, including Co-Op, the spiritual successor to The 1Up Show,[5] Rebel FM, the follow-up to 1Up FM,[6] and The Geekbox, Ryan Scott's replacement for Lan Party podcast.[7] The initial four-man lineup included Lee and Shane Bettenhausen, as well as Luke Smith and John Davison. However, Smith later left the network to accept a position at the then-Microsoft game development studio Bungie.[11][12] On August 24, 2007, Mark MacDonald was declared the show's official fourth chair member. John Davison then announced that he was leaving the 1UP staff,[13] though he would continue his participation with the podcast despite his change in career.[14] The last officially branded 1UP Yours was recorded on January 17, 2009, and was released on January 22, 2009.[15] On September 30, 2009, Garnett Lee announced he would be leaving 1UP to become the editorial director for Gamefly Media. It was replaced by 4 Guys 1UP hosted by former fourth chair David Ellis. Lee stated he will create a new show for Gamefly Media titled Weekend Confirmed.[16][17] On January 6, 2009, it was announced that Ziff Davis would be selling 1UP.com to the Hearst Corporation, in the process terminating Electronic Gaming Monthly and over 30 employees, including Shane Bettenhausen and Andrew Pfister. In the wake of the announcement the future of 1UP Yours was uncertain. On January 16, Garnett Lee confirmed the continuation of the series with a new cast consisting of John Davison, David Ellis, and Garnett Lee and new regular addition Sam Kennedy. However, the show would have to continue under a new name, Listen UP. However, with Lee's departure from 1UP in October 2009, the show would end, its final episode airing October 9, 2009.[15][18] Retronauts also produced the supplement video podcast, Bonus Stage, which looked at specific retro titles more closely. After a long hiatus, Bonus Stage was finally updated in September 2009. Retronauts returned to producing video content with Retronauts Lunch Break, though this segment was not available as a podcast. Bob Mackey has also crossed over with the Laser Time podcast network.[19] Retronauts survived the demise of 1UP, first existing independently and supported by crowdfunding services, but later under the auspices of the USGamer website, a subsidiary of Eurogamer.[20] Retronauts is now fully crowdfunded on Patreon.[21] The 1UP Show was a weekly videogame podcast produced by the website. The show premiered on October 21, 2005, and featured editors from 1UP.com, Electronic Gaming Monthly, and Games for Windows: The Official Magazine. The show was initially created by Jane Pinckard and Ryan O'Donnell, and Che Chou. The theme song was created by Jane Pinckard and Eric Haller and the music for the series was composed by Ryan O'Donnell. The show consisted of previews and reviews of video games as well as debates and discussions on videogame news. The podcast contained some scripted content, but mostly consisted of unscripted discussions.[22] The 1UP Network was sold by Ziff Davis to the UGO Network on January 7, 2009, and two days later Matt Chandronait announced on 1UP.com that The1UP Show would be ending due to the acquisition.[23] The first episode of Season 1 debuted on September 9, 2008, with the crew playing Robocop for the original Xbox. Former 1UP and GFW editor Shawn Elliott made a guest appearance on the WWE Crush Hour episode during this season. At the end of the Season 1 finale, a teaser was shown announcing that the second season would be premiering January 6, 2009. However, that was the day of the Ziff Davis layoffs that left more than 30 people out of a job, including the entire cast of Broken Pixels. Furthermore, Seanbaby noted that he caused controversy with "media watchdogs" by his use of the term "faggotiest" in the Spiderman 3 episode at the end of season one.[26] Most fans assumed that the show would not continue and that the segments they filmed would never be released, but season 2 premiered on February 6, 2009, with the Sega CD game, Wirehead.[27] It was announced on September 4, 2008, that Jeff Green would leave Ziff Davis after 17 years to join Electronic Arts to work on the "Sim" franchise.[28] Shortly afterward on September 17, co-host Shawn Elliott also announced that he would be leaving the company to work under Ken Levine as associate producer on the next 2K Boston video game.[29] The podcast is often affectionately referred to its nickname "97.5 The Brodeo".[30]
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