"For as long as we have been thinking about, designing, and programming this inaugural issue of Vectors, a war has been taking place half way around the world."

"These bottom-up technological efforts provided valuable services and some comfort in the wake of the disaster, particularly given the slow response of the federal government."

"Indeed, those of us who study the artifacts and stories of cultural and artistic production may be in the midst of a new dark age, inundated with such a profusion of information that we can never hope to organize or digest it, much less sensibly preserve it for the future."

"Throughout this same period, an array of scholars from a number of fields has tracked the many ways that the machines we interact with co-produce what we can perceive and know."

"Certain aspects of modularity, fragmentation, and dispersion that are endemic to digital media also structure the more covert forms of racism and racial representation that categorize post-Civil Rights discourse."

"Finally, it should be noted that many of these projects were completed some time ago (as the clever reader will note as she reads the project introductions."

"Although we are now only occasionally creating in-house collaborative projects for the journal, Vectors continues to offer a platform for experimenting with the forms and potentials of online scholarship."