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II:8.  Apart from the advocacy of textual technologies to poetics as a continuation of its own practices, there is a growing literature which represents hypertext in particular as the instantiation or embodiment of modern and post-modern critical theory. [PoMo] However, while this literature acknowledges a quantity of previous (chiefly prose) work, especially modernist exemplars and criticism associated with, for example, the poetics of Barthes and Tel Quel, (to a limited extent, writers associated with) Fluxus, the OuLiPo, post-structuralist schools, etc., and while it has engaged radical textualities in “traditional” delivery media (codexspace), it has not, especially in its more polemical moments or when focused on pedagogical methodology, given the same degree of attention to radical poetries per se — for instance those of Cage, Mac Low, L=A=N=G=U=A=G=E, and so on. Even these new critics of hypertext are occasionally caught in the uncertainty as to whether they should promote a new projection device or continue to develop a radical cultural critique. It is as if the “real/physical/engineered/programmed” representation of post-modern critical theory tends to attract special privilege when set against its representation as a function of, say, the writerly (scriptible) text; as a function, that is, of the writer’s proposal of new textualities and the reader’s disposal of interpretative, intertextual engagements. [WRITERLY]
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