This book treats the micro-archivation of websites, i.e. archiving by researchers, students or others without special technical knowledge who wish to save a website for further study using a standard computer.

The phenomenon is discussed from the standpoint that Internet research must be able to stabilise and save the object of its analysis. However, the Internet is endowed with certain fundamental media-specific dynamics that make stabilisation difficult. Based on an account and discussion of these dynamics (linked as they are to sender, text and recipient) the following double conclusion is reached.

Firstly, unlike other well-known media, the Internet does not simply exist in a form suited to being archived, but rather is first formed as an object of study in the very process of archivation. This form differs depending on who does the archiving, when, and for what purpose. Secondly, this means that there is an element of subjective creation in the archived material, so that methodical deliberations are necessary � in other words, the answers to why and how the archived material has been created.

These conclusions form the starting point for the last section of the book, which, based on comprehensive tests of archiving software, discusses in depth the elements that can be included in an archiving strategy.

In his book The Language of New Media (2001), Lev Manovich focuses in particular on interface (the language of the screen), operations (e.g. digital compositing), digital illusions and forms (e.g. the database form replacing the traditional narrative form). Referring to space in computer games, database navigation and the materiality of sound, respectively, the three essays in this volume discuss some of the concepts in Lev Manovich�s book.

Keywords: New media, theory, narrative, database, navigation, switching, computer games, space and game space, philosophy of space, art history, the literate composer, the sound object, representation of music

Do digital media change our understanding of media in general and specific media types in particular? If so, how do we conceptualize this change? These questions are the focal points of this paper. Analyzing web media as examples of digital media, the paper illustrates changes in the concepts of TV, radio and newspaper. The three specific media are chosen because the field of interest lies in the old mass media organizations. Drawing lines to the broader media landscape, the paper suggests �media diffusion� as a term to conceptualize the changes instead of media convergence and media divergence. By viewing media as discourses the paper proposes six additional media discourses which are all termed media but follow different discursive formations in the diffusion of media.

Keywords: media diffusion, media convergence, the concept of medium, online media

A great deal of effort has gone into discussing issues of copyright in relation to the new materialities of the digital distribution of popular music; there has, however, been less focus on the changes that these new developments may invoke with respect to the cultural and social usages of music. Against the backdrop of recent discussions of popular music as material culture it is argued that emergent usages must be seen in relation to accumulations of different materialities and that such a perspective highlights issues related to both aesthetic reflexivity and agency.

Keywords: cultural commodity, materiality, reflexivity, music, MP3.