"Why," Serafina Aquilino asks, "is Internet literature so popular in China, compared to other countries?" The answer may be found in the Chinese "unique literary production." Print, nothing less, is responsible for China's world leadership in e-Lit. An unexpected emergence that Aquilino describes in her "brief history" of e-Lit in China, from Cai Zhiheng’s The First Intimate Contact (1998) to the present rise of Chinese literary forums and literary websites.

Taking an ironic, Icarian twist on Steve Tomasula's Ascension, Stuart Moulthrop situates Tomasula's novel in a subterranean, encyclopedic lineage that includes print fictions like Joyce’s Ulysses, Dos Passos’ U.S.A. trilogy, Pynchon’s Gravity’s Rainbow, DeLillo’s Underworld, David Foster Wallace’s Infinite Jest, and Zadie Smith’s White Teeth – novels that are, as Edward Mendelson put it, “the products of an epoch in which the world's knowledge is larger than any one person can encompass.” It's an experimental lineage that is, arguably, one of the more noteworthy carryovers from print to digital literature; a genre that Moulthrop (2013) and his near contemporary Michael Joyce (2007) have termed the “novel of internet.”

This article examines how the formation of data can be seen as an aesthetic way of making sense. Following work in digital aesthetics, the article proposes to understand digital artifacts and processes via formalization and operation of media language. Li traces this idea through several examples from recent literature, film, games, and artwork in South-East Asia. Together with these examples, Deleuze’s philosophical thoughts on a genesis of sense production are re-considered in order to understand a formal way of making sense in producing the new. The notion of “abstraction” from ancient Chinese mathematical thought offers a re-consideration of Deleuze’s “intensive virtual”, that is, the way the formal, the operative and abstraction determine the extensive intensive. Sense-Data and atmospheric language address computation’s materiality in engendering the formal and the operative modalities of media language, as a way of producing states of being and becoming in cultural activities in which the digital is an agency.

In his review of Mark Amerika's My Life as an Artificial Creative Intelligence (2022), David Thomas Henry Wright highlights Amerika's negotiation of human, nonhuman, symbiotic creative practices in comparison with more traditional (including traditionally experimental) forms of writing.

Davin Heckman offers thoughts on Matthew Kirschenbaum's now well-known essay in The Atlantic, The Textpocalypse (2023). Contemplating our own limits in digital media scholarship, including the reinforcing of technological determinisms, Heckman discusses the concept of transindividuation and its relationship with technology, or, the process of becoming an individual through participation in culture and society.

Avoiding the "twin pitfalls of either Luddite dread or AI boosterism," in this essay George MacBeth offers a close Re-Reading of Jhave's ReRites.

Rob Wittig and Alex Mitchell discuss the very beginnings and the most recent iterations of Netprov, with a focus on generative AI, collaboration and improvisational writing.

In this republished Medium essay, Ian Demsky takes a personal and playful dive into AI image generation.

Rob Wittig and Scott Rettberg discuss the pioneer times in digital writing and electronic literature, a time long ago, in a Galaxy far away, when the audience at literary events did not have a clue about hypertext and links.

Rob Wittig and JT Johnson – a digital artist and writer – chat on the beginnings of Netprov, design of fictional worlds, and talent shows.

Image: DALL·E 2023-03-02 20.01.05 - "electronic literature can only exist up to a certain point, and then it dissolves itself as it becomes a discipline."

Rob Wittig and Johannah Rodgers – an independent scholar and a digital writer – discuss the collaborative and community-building nature of Netprov.

Image: DALL·E 2023-03-02 19.55.13 - "a group of people writing collectively a novel on financial crisis."

Starting with Umberto Eco's 1962 essay, "Opera aperta," and progressing into Emanuela Patti's tentative forays into Italian Electronic Literature from the 1960s to the Present, Roberta Iadevaia nicely locates a trajectory for Italian e-Lit, albeit one that is still open, "in contention," without any "encyclopedic guarantee, and no single world order on which our imaginative projections can rest."

Rob Wittig and Claire Donato - a writer, a multidisciplinary artist, and a netprov contributor – discuss how a sense of performativity linked with playfulness and joy of collaborative improvisation constitute the very core of netprov.

Image: DALL-E, at a prompt: “A futuristic image of a group of people and AI improvising a theater play”.

Rob Wittig and Jean Sramek - a playwright and netprov contributor – discuss how netprov as networked collaborative writing has changed since one of its earliest instance, Grace, Wit & Charm.

Image: DALL-E, at a prompt: “A group of people, plants and animals collaborating on digital platforms to write a poem”

In this substantial and original analysis (which is more a review essay than a simple review) Joy Wallace further extends a series of five reflective pieces on the renowned Australian poet, performer, and multimedia writer, Hazel Smith.

For Fernando Pessoa, as for the roughly 600 texts that make up his Book of Disquiet, and the estimated 136 heteronyms that Pessoa inhabits in his own writing, there "is life, and there is writing, and they must remain immiscible." Richard Zenith's attentive biography of Pessoa succeeds, in the words of Portuguese literary scholar Manuel Portela, in "forming a homogeneous mixture" when all of the names and textual experiences are brought together in a single, biographical narrative.

In this in memoriam, Patrick Lichty remembers community member and artist, the late Jeremy Hight. We at EBR remember Jeremy fondly. His creative works will continue to be respected for the contributions they make to e-literature.

In his review of Glitch Poetics, Richard Carter finds more than a close reading of contemporary e-lit and AI enhanced writing. In a book that is both aesthetic and machinic, critical and creative, Jones explores the nature of writing itself "and, indeed, reading, in an environment saturated by the rhythms and predilections of digital code."

What is a humanities lab? How do we distinguish between a lab in the humanities and a lab in STEM--especially in various lab processes and factors that include "technicians, technologies, traditions, techniques, and trajectories"? In his review of Darren Wershler, Lori Emerson, and Jussi Parikka's book The Lab Book, Jason Lajoie outlines the ways in which labs and lab culture have expanded to make room for making.

In his review of Broken Theory by new media artist and theorist Alan Sondheim, Aden Evens traces Sondheim's eclectic and stylistic meditations on the limits of philosophy, language, and code, expressed through the author's experimental art and research projects. Sondheim's fragmentary monograph and Evens' review by extension explore the inevitability of failure as an 'ontological guarantee' and suggest writing as a necessary—albeit inadequate and unfulfilling—response.