In response to Nick Montfort's review of Cybertext, N. Katherine Hayles coins an alternative term, Cyber|literature.

Allison Hunter shows how an artist can be fully contemporary without digitizing, streaming, or projecting imagery. Presenting jacquard looms and punch card technologies from the 1950s, difference engines and magnetic core memory stacks, silicon chips in wood housing and digital code on 18th-century woven fabric, Eve Laramee manipulates history like a medium.

Jan Baetens argues that Chris Ware's print-based comic book, Jimmy Corrigan, has already produced the revolution longed for by Scott McCloud - a revolution, however, that will not be digitized.

For Daniel Punday, Bernard Siegert's historical materialism - a difficult synthesis of historical, literary, and institutional analysis - falls somewhere between Derrida and Foucault. But see also the review in ebr by historian Richard John, who considers Siegert in the line of Walter Ong, Elizabeth Eisenstein, and Harold Innis.

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.