Annie Abrahams reflects on the right classification of her own ... what, exactly? Hypertext work? Net Art, electronic literature, digital art, intermedia art, computer fine arts, internet art, interactive writing experiment, computer art, poetry, flash art, animation, hypermedia, lecture, digital print, performance, opera, sound piece, contemporary art, video art? Rather than settle on tags that were mostly based on technology and didn't say anything about what was experienced through the work, Abrahams now profers a behavioral art that considers human/machine interactions somewhat in the way behavioral science in the 1970s "studied monkey behavior in a cage."

Pold and Erslev explore third-wave electronic literature -- a practice situated in ¨social media networks, apps, mobile and touchscreen devices, and Web API services” (Flores). At the next conceptual level, however, literary practices of this kind unavoidably take part in representing and reconstructing the metainterface - a space of data collection, standardization, commodification and redistribution that, for better or worse, is our context for a contemporary data realism.

The authors speculate why some are bored by the goal of computational generation of "human-like" text.  Inspired by Italo Calvino's alternative, minor strain in "Cybernetics and Ghosts," they argue that this kind of text generation provides an opportunity to destabilize as well as refine our sense of the differences between human and machine cognition. 

Alex Saum-Pascual on e-lit's relocation to platforms with massive user bases, and the beauty of meh.

Working with a custom-coded, automated-art-system of their own devising, Australian digital artists Karen Ann Donnachie and Andy Simionato have now archived a literary corpus for future study in what they have called The Library of Nonhuman Books. Yet it remains uncertain whether human scholars will visit Donnachie's and Simoniato's virtual library. Seeing as how "there are no human ‘typewriters’ now, how can we be sure there will still be human ‘readers’ in the future?"

Like many of the "Artistic Reflections" featured in the Cork 2019 e-lit conference, Carpenter's opens out from her own web based works to a "post-digital world, in which invisible layers of data inform our daily thoughts and actions; a post-human world, of vast oceans and ceaseless winds."

Following the work of Jennifer Gabrys (in Program Earth), Carter contends that electronic literature has the potential to function as a mode of experimental sense-making. By exploring works by Tina Escaja, Mark Sample, and J. R. Carpenter, Carter reveals the limits and potentials of our data-driven epistemes - to expose that which goes unseen, and highlight its significance for how we come to know and respond to the challenges ahead.

Bouchardon and Mayer in this essay question the narrative model of personal identity – the idea of the self as a story – in light of contemporary forms of electronic literature.