This program dwells on writing’s inscription in the vicissitudes of linguistics, visuality, enunciation, and translation. Breaking away from the linear customs and the rational habits of modern prose, web-based hypertext has presented writers and readers with new opportunities for shared authorship, multiple address, and collaborative reading. In generating the repetitions of memory and the differences of translation, the architectonics of hypertext provides readers with links through which the world of a single phrase or longer sentence can be inhabited in greater detail or with newly generated context. The provocative terms for such writing and its visitation, as coined by the artists of Contact Zones, allude to the lively variety of their hypertextures: “poetic ruin habitation,” “interwriting,” “the de-synchronization of repetition,” “archival quality,” and “a playful, artistic exploration of Writing.” Whether experienced directly as the digital shifters of Japanese, Greek, English, and Tunisian or performed indirectly through methods of textual spatialization and their evocation of the cultural differences of architectural structures and performative memories, hypertexture thrives in the deep mnemonic vaults of the CD-Rom and in digitality’s adherence to the most radical demystifications of différance.

Miekal AND & Maria DAMON, Literature Nation, 1999 (USA)
Jean-Louis BOISSIER, Moments of Jean-Jacques Rousseau, 2000 (France)
Roz DIMON, Information Woman, 1995 (USA)
Takahiko IIMURA, AIEONN Six Features, Japan
Panos KOUROS, Pasiphili-pandektiki avli-epochesthe, 1998 (Greece)
Sally PRYOR, Postcard from Tunis, 1997 (Australia)
Christine Tamblyn, Archival Quality, 1998 (USA)