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Hypertext/Hyperpoesis/Hyperpoetics [English]
Electronic writing is not simply the e-equivalent of paper writing because writing that is electronic has different properties than writing that is on paper. The difference is in physical and material properties. The most interesting of these are not static properties (i.e., how many lines there are in the text or how many bytes it occupies) but properties that relate to the malleability of the electronic text. These are properties that inject the unpredictable into the work, always spinning away from its viewers and creators the way a listserv by nature spirals off-topic uncontrollably or the way that, since a page doesn't seem to display the way you intended, you just live with it. Loss Pequeño Glazier is looking for a better understanding of the dynamics of web-based hypertext and asks whether a sense of hypertext can be garnered from the people who seem to be prominent in the field.

Explorations of Ergodic Literature [English]
The transformation of interface from a merely indicative tool of navigation to a suggestive element infused with metaphorical power in text-based hypertext literature, and the incorporation of hypermedia and modes of play and games into the hypertext scenario--both strains are gradually winning attention in electronic writing. Topics such as the clarification of paidia (play) and ludus (game) constituents, their formal impact on literature, and the comprehension of the aesthetic matrices projected by the symbiotic infusion of literature, play and games, have been posited, creating a new node in the network of literary studies. Shuen-shing Lee's paper explores these fertile new fields and aims to bring more poetical recognition to digital textualities.

French e-poetry. A short/long story [English]
"1964 the first electronic poems were written by the French Canadian engineer Jean Baudot ... 1975 the first exhibition of automatically produced poems took place during the "Europalia " event in Brussels. ... In 1985, during the exhibition "Immatériaux" in the Georges Pompidou Centre, the audience was invited to create and print computer generated poems. ... We met some members of the ALAMO group during the first Conference for e-literatures in Paris in 1994. I have been surprised by their aggressivity against the emerging computer based poetry. For them, nothing new could be done out of the paper publication. There was obviously a break between the authors who saw the computer as a tool and the ones who are considering the machine as an autonomous medium." - Patrick-Henri Burgaud tells the story of French e-poetry.

Tracing back: Netliterature and its Pre-(Hi)stories [German]
With reference to Queneau's sonnet combination and the combinatorical poetry of Barock, Peter Gendolla and Jörgen Schäfer question the "media etiological perspective", focused on the apparatus' disposition, drawing attention to the classical avant garde as a reference to computer generated literature.

Game worlds. Relation of space and time in computer games [German]
Game- and webdesigner Kai Thomsen describes space as fundamental ground for each game. Rules of a game are the natural law for this game world. While as a game-designer has almost complete control over appearance of the space of his game world, he has to part with some of the temporal control in favor of the player. If a game recurs on narrative elements the world has to fulfill narrative needs as well.

Experiencing hyperfictional readings. Reader response aspects of narrative online-texts [German]
How do we experience the reading of a hyperfiction? On every journey through literary worlds of online-readings lurks the question of how to respond to the readings. Christian Bachmann analyzes the experiences made in online-readings and shows two components which are very much intertwined: the narrative and its functions of understanding.