By connecting the rise of artificial intelligence to the evolution of writing technologies and cybernetic thinking, Davin Heckman's essay calls into question the norms of contemporary writing practices. In doing so, Heckman asks us not to mourn previous conceptions of literacy, but to consider ourselves on the cusp of new literary potentialities.

In this article, Stuart Moulthrop approaches the poetics of large language models through his lived teaching experience. Featuring a conversation with SeminarBot b05 and the work of Moulthrop's students, present and past, this piece highlights the divide 'poetic technology' has introduced into society and calls for attention to be paid to the edges of both sides of the argument.

A poem that encrypts itself after one reading, a videogame-poem that exists only in the contingency of play, an augmented-reality sequence that vanished with its platform: Foscolo argues that disappearance is not a problem digital literature faces but a formal principle it has learned to inhabit.

The word "prompt" carries three histories at once: the teacher's assignment, the command line's blinking caret, and the natural-language input to a large language model. This essay reads all three together to argue that prompting is not purely programming but something that sits uneasily in the contact zone between code and natural linguistic expression.

When you read code, you can interpret it, or you can trace it, and these are not the same thing. Arakawa proposes verificational reading as a distinct epistemic practice, one whose validity rests not on critical persuasion but on what the code actually does when it runs.

Providing insight into posthuman narrative strategies, Laura Shackleford analyses Steve Tomasula's novel Ascension (2022) for relational points of interest. Who or what is ascending who or what, and to what end?

This essay by Cristina Luli analyzes and compares Steve Tomasula's short story "A Farewell to Kilimanjaro" (1993) to Ernest Hemingway's "The Snows of Kilimanjaro" (1936), bringing to light the embeddedness of media ecology and the materiality of storytelling.

Different mediums explore our contemporary experience in alternative ways. The novel, through its many different perceptions and iterations, has a rich history in which David Banash places Tomasula's work as both timely and needed

In this essay, Jon Ippolito discusses the meaning of "friction" in the context of higher education, via an exploration of what friction entails, what varieties are beneficial for students, and what aren't. In doing so, he creates the starting point for conversation in "Friction and Education: The Discussion".

In this conversation, provoked by Jon Ippolito's essay "Does Education Really Require the F-Word?", researcher-educators Jon Ippolito, Annette Vee, Maha Bali, Jeremy Douglass, Mark C. Marino, and Marc Watkins discuss the role of friction in higher education after the dawn of generative AI.

In this provocation, Jon Ippolito questions what human capabilities AI extends and what capabilities it removes. In doing so, he charts the evolution of human writing processes alongside technology while speculating on what future human writing practices will look like.

Using Jon Ippolito's essay "Writing As Thinking—By Proxy" as a vehicle for discussion, researcher-educators Anna Mills, Mark C. Marino, Maha Bali, Jeremy Douglass, Annette Vee, Marc Watkins and Ippolito discuss the impact of AI's emergence in higher education and the many strategies they're employing to foster healthy writing practice with and without AI.

Daniel Johannes Rosnes' playful review of Kyle Booten's Gyms sees Rosnes at the mercy of an AI writing companion, who aides his reflection on the exercises Booten provides and the ways in which they reveal the potentialities and pitfalls of large language models.

In this insightful interview, Rob Wittig, Mark Marino, and ChatGPT—prompted into the far wittier persona of Chatty G—discuss LLM assisted writing processes, the dangers of extreme empathy post-AI, and the influence of netprov on Hallucinate This! An Authoritized Autobotography of ChatGPT.

Stuart Moulthrop's meditation on AI artistic production explores the pareidolia at play in human interactions with generative models while arguing, via Wim Wenders' Until the End of the World (1991) and Greta Gerwig's Barbie (2023), for a loving approach to humanity's newest tools.

Eman Younis and Hisham Jubran's study investigates Arab university students' exposure to digital literature and their attitudes toward it. In doing so, they discover students feel the inclusion of digital literature in university-level literature courses should be a scientific necessity and that its absence in the curriculum compromises their professional development.

Will Luers contributes to current debates on AI by engaging with Jeffrey West Kirkwood's Endless Intervals: Cinema, Psychology, and Semiotics. Luers examines the parallels between AI and cinema technology as "thinking machines," both structured around intervals that produce perceptual and conceptual unities. What we have, in cinema and AI no less than human cognition, "is a reevaluation of the unity of consciousness."

Tuuli Hongisto explores the problems of cyborg authorship through the presentation of ChatGPT as a co-author of literary works on Amazon. Rather than shying away from admitting that an AI took part in the writing process, these authors position ChatGPT and other LLM's as authors with their own rights, rather than tools.

Marino and Berry discuss their engagement in weekly conversations about the nature of "code, of ELIZA, its descendants" and how each of these programs have circulated within our critical code culture, along with other "contemporary conversation agents like Siri and ALEXA and, of course, ChatGPT."

Off center, wayward, slightly off path.... Rettberg and Luers discuss their longrunning encounters with writers, artists, computational film makers and other multidisciplinary "people who come to the electronic literature community, and it’s not only writers, but also artists, visual artists, and you find everyone has a similar kind of wayward path."