"Forever" is the theme of INCITE Journal of Experimental Media's sixth issue. In contemporary economies of immediacy and connectivity, what is temporality's role and relevance other than as a force to be exploded? Why are LPs and film reels and tapes and optical discs and iPod menu buttons all circular? What does it mean to wait 8 hours in line to see Marclay's "The Clock"? Why does Hollis Frampton scholar Clint Enns claim: "Duration is Dead"? Who wore post-apocalyptic 1980s cinema better: Darryl Hannah, or Neil Young + DEVO? Is La Monte Young a spinning disk or a flash memory kind of guy? Why did film loop installations become art-world de rigeur as Kodak went into bankruptcy protection? What the fuck is "time-based media"? Are screensavers art? What does it mean to be "permanently preserved"? Is that even possible? Why don't they make them like they used to? Does *it* really matter? CONTRIBUTORS: @timebasedmedia, Peggy Ahwesh, Anonymous, Craig Baldwin, Nadia Baram Larralde, Michael Betancourt, Mark Byrnes, Terry Cannon, Rutherford Chang, Steve Cossman, Kevin Croker, Jon Dieringer, Clint Enns, Bradley Eros, Walter Forsberg, Brian L. Frye, Jason Fulford, Marsha Gordon, Sabine Gruffat, Cheryl Hann, Brett Kashmere, John Klacsmann, Andrew Lampert, Charles Levine, Ross Lipman, Amy Lockhart, John Madey, Zak Marmalefsky, Jesse McLean, T.K. Peters, Greg Pierce, Suzanne Porath, Sabrina Ratté, Samplerman, Soda_Jerk, Leslie Supnet