I'd like to show you three ways of navigating this book.

First, you will see two links at the bottom of each page. You will clearly see a next button with the title of the next section on it as well as a back button with the name of the previous section. This will present you with the "right" way I mentioned above. 

Second, the orange dot below the menu at the top of the screen will gradually progress along the book's linear path and leave a small trail showing the pages you've already visited. Below this line you will see a bracket that indicates which nexus you are in. You can click on any of these dots to move forward or backward in the book. 

Third, you can access the entire structure of the book by clicking on the Contents button at the top of any page. There the pages are numbered and organized by nexus. Again, pages you have already visited will be a different color from those you have not.

This might sound as though the book can only be read in one order. However, some of the pages resist the linear thread. Instead, they are accessible through links in the text itself. They also appear in the trail along the bottom of the menu and in the table of contents, so you will get a reminder when you've missed one. Of course, I've also provided many opportunities to skip around. In fact, the arguments I make depend on readers who are willing to skip around and discover connections between pages. When you see a link in the text, it may jump you to a new section of the book, either further ahead or behind in the linear progression. Each link opens in a new tab so you can keep one finger on the page you were originally reading. The orange dot below the menu will always give you an idea of where in the book you are.

In addition to its unusual organization, Rhizcomics makes arguments in unusual ways. It performs many of its arguments through visual and interactive interventions. These interruptions may throw off readers even more than the book's unconventional organization. As you scroll down the page, visual elements will appear and disappear. If you are reading on a computer, I encourage you to use the scroll bar on the right side of your browser instead of the mouse wheel as some mice are much more sensitive than others. The scroll-based visual interruption is one of the opportunities the medium allows, and I'll rely on it for various rhetorical purposes throughout. So please, be surprised, but don't be too upset by these interruptions. There will be many more, and each has a purpose.

One of the major concepts I'm working with is the desire for control. The interruptions offer a chance to play with control a bit. They will be uncontrolled (or controlled by me) in your encounter with them; however, they will also allow you control over various visual elements. For example, you can try scrolling back and forth to make these interruptions act in surprising ways. 

Throughout Rhizcomics, in its organization and its visual layout, I'll be performing the arguments that I'm making. In a sense, you'll be making some of the arguments yourself by connecting different threads and reflecting on various elements. Making an argument takes at least two people, so I'm glad to have you along.