electropoetics

A consideration of Monstrous Weather, a recent netprov (or networked improvisation) and the ways that collaborative storytelling encourages the rereading, retelling, rewriting, and adaptation of stories that begin as performances, and then turn into a form of archiving through still further rereading, rewriting and retelling. Author Alex Mitchell begins by depicting how, during the original performance of Monstrous Weather, there was a constant reworking, remixing and retelling of texts, both literally and through references and embellishments. This process gradually coalesced the loose collection of story fragments into something that had a kind of coherence, if not as a story, then at least as a storyworld. Mitchell discuss two particular performances/remixes: a live reading of excerpts from the netprov performed at the Electronic Literature Organization (ELO) Conference 2017 almost exactly 1 year after the initial performance, and a subsequent hypertext remix/archive.

Babak Elahi shows how electronic literature in its public display, its interactivity, and its paradoxical combination of ephemerality and permanence brings us closer to the ancients than to the moderns - and closer still to the collective ritual experiences that Arabic and Muslim literature always valued over Western individualism. Further still, the emergence of Arabic e-lit does not just mean inclusions of still more cultural or ethnic identities. The politics of identity is yet another Western concern that an online Arabic poetics is happy to leave behind.

An Mosaic for Convergence, Charles Bernstein's hypertext essay from ebr Issue 6 in the Winter of 1997-1998, explores the ramifications of a literature that is not structurally challenged, but structurally challenging. By then, Bernstein could sense a shift in literary sensibility, where it was beginning "to seem as natural to think of composing screen by screen rather than page by page." That was a few years after the flourishing of hypertext, but before the internet made reproduction of our print corpus a dominant practice (as e-books, primarily, with very little print/screen interplay or reader/author/programmer interchange). The moment Bernstein describes, and its instantiation on ebr's Alt-X legacy site, seems to the ebr editors something worth preserving - if only as a measure of recognized literary possibilities that have not been realized.

Bernstein's essay is the first of many that will be recovered by ebr co-editor Will Luers, and re-produced in the journal's version 7.0 (circa 2018-2019).

In this essay, Serge Bouchardon looks to electronic literary and its important predecessors in a way that prioritizes gesture and manipulation. Bouchardon interrogates how technology alters and opens the way that literature can be materially engaged-with by its readers, a way that deliberately encourages its readers to engage physically and agentially with the text. In this way, Bouchardon reveals a way of critiquing electronic literature that expands upon the physically-engaging properties of print.

In her essay, Egyptian elit scholar Reham Hosny observes and quantifies the ways that Arabic electronic literature has been historically underrepresented in the predominant critical venues like the ELO's Electronic Literature Collections and other central repositories for the dissemination and study of e-lit. Rather than simply observing this vacancy, however, Hosny proposes real, practical methods for addressing and bridging this discrepancy, bringing new works to light and encouraging translation, open access, and consideration of the language-based and nationalist biases in the scholarship surrounding elit.