Scott Rettberg, responding to "The Pixel/The Line" (section 4 of First Person) wonders whether electronic writing isn't evolving into a subspecies of electronic art, one that uses words as material, 'just as sculptors use clay.'

Sandy Baldwin responds to Lori Emerson.

Chris Stroffolino responds to Lori Emerson

Lori Emerson reviews The Shape of the Signifier by Walter Benn Michaels.

"Playing with play," John Cayley sets ludology on an even playing field with literature, but without literary scholarship's over-reliance on 'story,' 'closure,' and 'pleasure.'

Julie Cupples reviews a retrospective collection of essays by Chandra Mohanty on the geopolitics of gender and race.

Reading subjectivity into the software interface, N. Katherine Hayles offers a compelling case for computational authorship.

Jill Walker's encounter with a participatory, and vaguely sinister, online narrative.

Which alias best fits interactive fiction?
The nominees are:
"Story," "Game," "Storygame," "Novel," "World,"
"Literature," "Puzzle," "Problem," "Riddle," and "Machine."
Read, and decide.

Tim Keane on rock'n'roll awakenings and the lyrical existentialism of U2 (St Patrick's Day Special, 2005)

Warren Sack uses The Conversation Map, a "graphical interface" that analyzes newsgroups and listservs, to analyze the possibilities of discourse analysis itself.

"Collaboration shifts": Victoria Vesna investigates the digital/physical limn, the compression of spacetime, and the condition of tensegrity in projects such as n0time and Datamining Bodies.

The subtitle - "Using Voice Chips and Speech Recognition Chips to Explore Structures of Participation in Sociotechnical Scripts" - tells the story, partly. But there's more in store.