Purpose and Design The challenge for our profession in regard to electronic texts is one of theorization and design: How do we tailor the set of academic practices we are experts in, practices that are inextricably linked to the book, to the space of the screen? How can we best use these "virtual spaces" for pedagogy? In this paper, we will address these questions in relation to a series of experimental projects we have under way in the Networked Writing Environment at the University of Florida (the N.W.E. is a Unix-based system of 12 servers and 186 xterminals that are in use by over 2,600 students and 80 instructors). We are attempting to catalyze a reaction between Romantic poetry and electronic media to examine the pedagogical potential of the recontextualization of subjectivity that these new media make possible. Victor Hugo once suggested that "Romanticism" was the "liberalism of literaure," a movement that unleashed the liberatory potential of writing, freeing the artist from the constraints of tradition and encouraging revolutionary political thinking. Romanticism marked a paradigm shift for Hugo from a literature emphasizing objectivity, convention, and the grandeur of mytho-historical themes to a literature emphasizng the imaginative and emotional life of the individual. Subsequent literary critics, sharing Hugo's conviction, have considered this Romantic ideology to be central to Western democratic society, a constitutive component of modern notions of individuality. For this reason, we conceived a literature and composition course, not about the "Romantic period" per se, but about the process of reconceptualizing subjectivity and the social space it entails that began in that period and is foundational to our conceptions of literature, culture, and individuality today. This framework allows us to explore a wide range of writing, focusing on how the "romantic" project of re-visioning both self and nature gets taken up and reworked in subsequent literary texts. From Wordsworth's wanderings in search of himself in the Lake District, we move to similar journeys in Whitman's "Song of the Open Road" and Kerouac's On the Road. With Blake's visionary cartography of England, we juxtapose Ginsberg's hallucinatory topography of America in "Howl." And against the strangely virtual spaces of Romantic "Nature", we consider the equally hyperreal terrain of postmodern consumer capitalism in White Noise . We conceived our course, entitled "Writing About Visionary Selves and Virtual Landscapes," as a collaborative effort in which we pool our resources and deploy our individual teaching strengths in a complementary manner. The team teaching effort is part of reconfiguring notions of self and space that we discuss above. As Deleuze and Guittari explain, "Since each of us was several, there was already quite a crowd." With more than one teacher, conventional notions of student-teacher relations are disturbed. Likewise, to pass on the non-individuated, non-competitive mode of learning, students are asked to become team students (several students banding together to aid each other) just as Bill and Ron have become team teachers. In teaching Romanticism in the electronic classroom, our main focus is to show the relation between inner landscapes, the outer social sphere, and "Nature," where authors often seek spaces to resonate with their visions. The N.W.E. (Networked Writing Environment) allows us to experiment with "new" approaches to learning--online discussions, e-mail panels, using and creating electronic texts and virtual spaces--in order to better achieve this goal. In this sense the Web and the Moo function both as scholarly apparatus and pedagogical tools. In both cases, the tools help reconfigure our interaction with the literary text because the text is represented in a new mode--a mode better charaterized as "performative" than as "interactive"--as well as in a new medium. We wish to emphasize that our approach is experimental, an attempt to put theory into practice in the electronic classroom. Ultimately, we hope that our students' engagement with the electronic text will lead them to rethink the production and representation of subjectivity and social space in the Romantic period and in our own. Performance The assignments in "Visionary Selves and Virtual Landscapes" can be divided into two broad categories: a series of short, argumentative response papers in which students are asked to analyze and interpret assigned texts, five larger creative/experimental electronic performances (explained below) in which students attempt to grapple with the issues of textual instability, subjectivity, and the contruction of space we discuss in class, using the studied texts as models. Prelude: Constructing a "Monstrous" Homepage Identity. Performance 1: Person, Place, and Thing in Romantic Texts. Performance 2: The Encounter Between the Human and the Natural Worlds. Performance 3: Lines of Flight for Revisioning Dominant Paradigms of Subjectivity. Performance 4: Representations of the Hyperreal City. Performance 5: Finale! Virtual Gainesville.