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1. A Child's Game Confused

   This is a hypertextual essay about and around a cycle of poems by Juliet Ann Martin: oooxxxooo. It's an interpretation of the poems, a reading. It's also about playing with the medium and with writing. The essay speaks its own voice, linking almost only to itself, always beside the poems it speaks of. You may hear voices of theorists behind these words, but they are implicit, a background rather than names to be paraded

   Jill Walker Rettberg - 24.03.2011 - 23:45

2. Scott Rettberg’s Writerly Text, “The Meddlesome Passenger”: Reading as Writing/Consumption as Production

   A reading of Rettberg's "The Meddlesome Passenger" as a postmodern metafiction, in Roland Barthes' terms of the "writerly" text.

   Scott Rettberg - 25.03.2011 - 10:41

3. Stepping Into the River: Experiencing John Cayley's riverIsland

    In this paper I investigate the emergence of new writing and reading practices under the impact of digital media. Examining Cayley's poetic work riverIsland , I focus on what the poet himself calls “literal morphing.” These transformations of letters constitute, I argue, an important shift in poetic writing whose importance for literary analysis must be acknowledged. I conclude that poetic works in programmable media lead to a rethinking of concepts of surface and depth in relation to writing.

   Jill Walker Rettberg - 25.03.2011 - 13:36

4. Figures in the Interface: Comparative Methods in the Study of Digital Literature

    This paper, which is part of the collection of essays Reading Moving Letters (see introduction) reflects on what the emerging field of digital literature studies and the more established (but continually evolving) discipline of comparative literature might contribute to one another in terms of defining concepts and methods of literary analysis. My discussion is guided by the tentative proposition that the vexed status of the "national language" for comparative literature can be seen as analogous to the status of the "digital" for scholars undertaking research on computer-based literary texts. Aiming to overcome the ideological strictures of nationalism, many present-day comparatists are returning to the old question "what is literature?" and are placing renewed emphasis on the role of figurative language as a defining feature of literary texts and, consequently, as the appropriate focus of comparative textual analysis.

   Jill Walker Rettberg - 25.03.2011 - 15:17

5. Electronic Literature Publishing and Distribution in Europe

   A preliminary presentation of Publishing E-Lit in Europe,  a report detailing efforts to systematically survey and analyze the publication of electronic literature within Europe. Due to the immensity of their investigation and the limitations on what two researchers could achieve in three months' time, the authors emphasized that their report was a work in progress: at this point, they had been able to collect primary data about the publications, portals, collections, contests and other forums that supported the creation and distribution of electronic literature in Europe. The revised version of the report would feature more content analysis - of the type of material published and trends that distinguished various e-lit communities writing within specific linguistic and cultural traditions.

   Eric Dean Rasmussen - 05.04.2011 - 11:37

6. The Nihilanth: Immersivity in a First-Person Gaming Mod

   The Nihilanth: Immersivity in a First-Person Gaming Mod

   Rita Raley - 05.05.2011 - 15:28

7. Editor's Introduction: Writing.3D

   Editor's Introduction: Writing.3D

   Rita Raley - 05.05.2011 - 15:49

8. Code.surface || Code.depth

   This essay begins by identifying a central idea in the critical discourse on code art and code poetry: code is a deep structure that instantiates a surface. The AP Project’s Jonathan Kemp and Martin Howse, for example, explain that their work makes “manifest underlying systematics,” that can make the digital “physical, audible and visible through geological computing.” In what sense, if at all, can we trace a computing operation down to a foundation, bottom, or core? Why do we maintain this cultural imaginary of code and how has it come into being? Moreover, how have the metaphors of software engineering – particularly the notion of structured layers and multitier architectures – been put to artistic use? The thematizing of layers, surfaces, and spatial metaphors has become quite intricate in new media writing practices, as I will demonstrate in a reading of “Lascaux.Symbol.ic,” one of Ted Warnell’s Poems by Nari, and recent projects by John Cayley, including Overboard and Translation.

   Rita Raley - 05.05.2011 - 16:06

9. Interferences: [Net.Writing] and the Practice of Codework

   Codework refers to the use of the contemporary idiolect of the computer and computing processes in digital media experimental writing, or [net.writing]. Some of the prominent practitioners include Alan Sondheim, who has given the practice and genre its name, Mez (Mary-Anne Breeze), Talan Memmott, Ted Warnell, Brian Lennon, and John Cayley. These writers also use different terms to refer to work: Mez composes in a neologistic "net.wurked" language that she has termed m[ez]ang.elle; Memmott uses the term "rich.lit"; Warnell names some of his JavaScript poems "codepoetry"; Lennon refers to "digital visual poetics"; and Cayley produces algorithmic, generative texts, or "programmable poetry." Writers and artists who have taken up the general practice of codework heed the mandate - "use the computer; it is not a television" - and strive to foreground and theorize the relations between interface and machine and so reflect on the networked environment that constitutes and is constituted by a digital text. The precise techniques vary, but the general result is a text-object or a text-event that emphasizes its own programming, mechanism, and materiality.

   Rita Raley - 05.05.2011 - 23:09

10. The Code is not the Text (unless it is the Text)

    An essay considering the nature of "codework" and arguing against the collapse of "code" and "text" into one category. Cayley considers the different modes of reading involved in reading works that may be read both as computational artifacts and as works of literature.

    Rita Raley - 05.05.2011 - 23:14

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