Dave Ciccoricco responds to Luc Herman and Bart Vervaeck.

William Smith Wilson builds on his earlier ebr essay, "The End of Exemptions of Beauty," with this companion piece.

Peter Hare responds to Lori Emerson's review of Walter Benn Michaels.

Aron Pease introduces this collection of essays by Linda Brigham, Caren Irr, William Wilson and Nick Spencer with a look at the multitude's programmability.

Linda C Brigham complicates Hardt and Negri's case for network resistance.

Caren Irr reframes the question of private property through fantastic narratives of the commons.

William Smith Wilson injects the transcendentals of aesthetic illusions into Hardt and Negri's immanent materialism.

Hanjo Berressem provides both fast-forward and slow-motion readings of Slavoj Žižek's Organs without Bodies: On Deleuze and Consequences.

Eric Dean Rasmussen traces the contours of Hanjo Berressem's rigorous, bi-tempo reading of Organs without Bodies, which finds Žižek's philosophical buggering of Deleuze to be wanting.

Jokes play a fundamental role in Slavoj Žižek's philosophizing. Is Žižek joking when he extols the virtues of Christianity to the Left? Eric Dean Rasmussen analyzes Žižek's pro-Christian proselytizing as attacks on modes of PC-ness - political correctness and perverse Christianity - that sustain an undesirable neoliberalism.

Nick Spencer argues that the multitude is machinic, even without machines.

Sandy Baldwin responds to Lori Emerson.

Chris Stroffolino responds to Lori Emerson

Now that the First Person essay collection is complete and the case has been made for computer games as a form of narrative, Brian Kim Stefans asks the fundamental questions - concerning what can be read as literature, and what really cannot.

1999 e-literature award winner John Cayley writes about Saul Bass of classic film title fame. A precursor to language arts innovators Jenny Holzer, Richard Kostelanetz, and Cayley himself, Bass may now be recognized as a poet in his own 'write,' important for a new generation of designwriters creating "graphic bodies of language," moving words and signifying images, in digital environments.