Is there such a thing as womens' writng? Or, for that matter, womens' media? Elisabeth Joyce moves through the work of Annie Abrahams and writes against restrictive domestications of electronic media.

"Rather than gathering in the South Ballroom for the plenary, we read into gardens, playrooms, cars, stores, home offices, and kitchen tables. These sites are not homey, though, in any Palmolive way." Bill Stobb reviews a collection of writers who consider the complexities of artmaking and motherhood.

Elyce Helford frames Tank Girl as a portrait of the postfeminist woman: hyper-individualist and hyper-sexual - a woman who is quite comfortable in popular cinema but not so much so in reality.

Diana Lobb responds to Katherine Hayles and ponders the ambiguities of dialogue.

Katherine Hayles responds to Diana Lobb.

Diana Lobb tackles the legacy of positivism and the politics of chaotics.

William Major measures academic "ecocriticism" against the practical "agrarianism" of Wendell Berry.

Stephen Schryer reviews Mark Taylor and casts a critical eye on the unconditional celebration of complexity.

For all the talk of cyber-difference, screens still behave like pages. The contributors in section six have developed, in response, a digital aesthetics unlike that of print.

John Cayley dadas up the digital, revealing similarities of type across two normally separate, unequal categories: image and text. "Neither lines nor pixels but letters," finally, unite.

Camille Utterback exposits "embodied interaction with symbolic spaces" – the body and language of digital art.

In this series of "media-element field explorations," Bill Seaman suggests configurations for the shape of the virtual artist-author to come.

The second in a series of two essays developing the parallels between Iraq and the Peloponnesian Wars, between classical Empire and postmodern Imperialism.