Fifteen artists working along the blurry boundary of music, sound, and noise launch Alt-X Audio. curator: Mark Amerika.

With his software groovebox, Trace Reddell applies the tools and strategies of the DJ to the performance of literary interpretation and critical speculation.

Paul C. Rapp, Esq., a.k.a. Lee Harvey Blotto, on the legal, cultural, and economic dimensions of the Napster controversy circa Y2K.

RVV Rob Wittig, Scriptor, fast forwards to a future when teenagers in neo-nikes and neo-soccer jerseys recreate ye olden days of the True Hip Hop Troubadour, circa Y2K.

Reviewing new scholarship by David Joselit, Molly Nesbit, Thierry de Duve, and Linda Henderson, Hannah Higgins proposes that writing about Duchamp needs to be Duchampian in flavor.

Sue Im-Lee reviews Reciting America by Christopher Douglas.

Kermani responds to LaPlante.

Claire Rasmussen on geography and the social theory of Janet L. Abu-Lughod, Mike Davis, and Edward Soja.

Cary Wolfe investigates why the reviewers were so rattled by the Lars von Trier film, and in the process puts Jacques Derrida, Stanley Cavell, Slavoj Zizek, and Judith Butler into conversation.

Reflections on Red/Yellow/Blue in the context of Music/Sound/Noise.

Elise Kermani writes about her work with sound and invites readers to locate sounds of their own on the spectrum from noise to sound to music. database programming: Allison Hunter and Ewan Branda.

A reluctant response to Markku Eskelinen's "Cybertext Theory: What An English Professor Should Know Before Trying," where Hayles discusses her admiration for Espen Aarseth's work... and the limitations within it she has perceived.

Considering hypertext as a subset of cybertexts, Markku Eskelinen offers seven examples of how to implement Espen Aarseth's seven-fold typology.

Marjorie Coverley Luesebrink performs an autopsy on the hypertextual corpse.