In spite of the millennial call for an end to issues in Winter y2k, ebr11 - a new issue - went online at the turn of the year 2000/2001. There would be yet another issue a year later ("Music/Sound/Noise") before the transition to the new interface could be completed.

Chicago art critic John Brunetti reviews The Truth on Tape, a survey of Daniel Wenk's art, and Black Mountain College's Dossier Ray Johnson.

Stephanie Strickland investigates an epistemological shift in web-specific art and literature, from an understanding that is less about structure and more about resonance.

>--> Chicago art critic John Brunetti reviews The Truth on Tape, a survey of Daniel Wenk's art

Cary Wolfe reviews Allison Hunter's installation at Europas Parkas in Lithuania. In her work, interspersed as it is among that of other artists, Hunter focuses our attention on signification in the crevices of the so-called public sphere.

Geoffrey Winthrop-Young takes the outside perspective on German media studies.

Every crank has an idea. Every American is a crank. Philip Wohlstetter is an American, therefore - well, you get the idea.

Nick Montfort reviews Espen J. Aarseth's Cybertext, which stakes out a post-hypertextual terrain for literary criticism and practice. Interactive excerpts from some of the cybertexts that Aarseth discusses are included.

hypertext? cybertext? hypermedia? webart? while new media critics debate the terms, Talan Memmott has produced the thing itself, a creative use of applied technology.

Tom LeClair surveys six gargantuan texts—both hyper- and print—and finds that size is not all that matters.

Perusing websites pertaining to literary matters, Eye magazine cites HTML's "gaptoothed rawness" as a hindance to readability in ebr (prior to the journal's redesign).

Paul Harris examines the theoretical aspects of constrained thinking in the age of electronic textuality (in 2000 words, natch!)

Thomas Hartl reviews Ron Sukenick's Mosaic Man