Cyber Ireland: Text, Image, Culture by Claire Lynch (auth.)

By Claire Lynch (auth.)

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Is the hypertext useful at all then in improving our understanding? In the first instance, since Lost in Cyberspace 45 hypertexts depend on linking not dissecting, they offer approaches to reading which counteract some of the reverence in which Ulysses can be held by moving away from expectations that the text is a puzzle to be solved. Furthermore, critics have proposed that the same multidirectional understanding of text could be fruitfully applied to writing about Ulysses, as much as to the text itself.

121). 121). On screen, the book as object is no longer tangible, disconnecting the reader from what we might think of as the sensuous elements of reading. Similarly, by negating the reader’s ability to perceive the size and weight of a book, the on-screen version removes all of the signifiers which present the ‘bulk’ of Ulysses as serious, challenging and canonical. However, what is lost in the transmutation of the ‘imposing’ book, Groden suggests, is gained by placing the hypertext at readers’ fingertips.

177) to access telephones around the world. An elaborate form of prank phone call, ‘blue-boxing’ allows the young men to test their limits (and push their luck) in a show of bravado. Yet for all the fun, all of this is really a step in a much bigger ambition; that is, bringing humans and machines closer together. Having seen the news about the funambulist on the ARPANET message board, the hackers get through to a public phone in New York. 180), creating a scenario of multiple unknowns. The hackers try to verify the wire-walker, the phone conversation is derailed by the mysteries of the new technology and for all their bravado, the ARPANET is superseded by human verification; they need to hear it from a human voice.

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