Like the webarts here under discussion, ebr approaches the Internet, in the first instance, as a unique art medium.

A Better Mao's Trap

Infiltrate, animate, dominate. Lisette Gonzales reviews Derek Pell's Little Red Book of Adobe LiveMotion.

Duchamp Through Shop Windows

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.

Unfolding Laramée

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.

New = Old, Old = New

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.

Webarts

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.

Telling Tales: Shaping Artists' Myths

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.

An American Art Critic in Paris: a nigtmare with and about John Brunetti

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

Signmakers 1999

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.

Dali Clocks: Time Dimensions of Hypermedia

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

False Pretenses, Parasites, and Monsters

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

Taking It IS Dishing It Out: The Late Modern Logic of Fight Club

Linda Brigham breaks the first rule of Fight Club and talks about what the movie industry keeps secret - not male masochism, anti-corporate terrorism, self-help, or even heterosexual anxiety, but how best to deliver a commodity that doesn't act like one.

My Body the Library: Janet, Body art, and World Wide Web site

Michael Joyce looks at hypertext, body art, body piercing, and Web culture.