By Claire Lynch (auth.)
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Extra resources for Cyber Ireland: Text, Image, Culture
100). Much more than that, he is thrilled by the idea that there is someone else at the other end of the wire, even if they are intent on sabotage. 100). 100). Joshua’s perception of his actions, caught in a battle of wills against an enemy computer, predicts the rhetoric of videogames where war is simply play and lives are multiple and replaceable. 102). 89). Rather obviously, the one thing it cannot do is protect him from the realities of war, any more than it can revive his lost colleagues. When he too is killed, his death is understood not as a return to nature, ashes to ashes, but as an absorption into the computer; he ‘became code.
Several notable projects emerged during this decade including Fritz Senn’s 1991 Hyperwake at the Zurich Joyce Foundation, David Gold’s 46 Cyber Ireland 1996 proposals for Ulysses enhanced with hyperlinks to critical articles, Heyward Ehrlich’s ‘James Joyce Text Machine’ and Donald F. 477). Perhaps most signiﬁcant among these was Michael Groden’s ‘Digital Ulysses’ project, discussed in further detail below. 475). Their research was timely, linking a renewed interest in the Joycean text with a funding trend for exploring the capacity of computer technology within the humanities.
No longer boring, newness in this construction is threatening, undermining the earlier utopian fantasies of progress and exploration. To be addicted to newness is to be powerless over it, leading to the behavioural and societal responses categorised by McCann as ‘arrogant’. 301). It is perhaps because of this that such an established contrivance, the young man as nation, has retained currency in contemporary attempts to engage with these ideas. If the young male bodies in Let the Great World Spin are put at risk and destroyed by an ‘addiction to newness’, Mike McCormack’s Notes from a Coma takes the prospect of ‘cultural paralysis’ even further.