By Claire Lynch (auth.)
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Extra info for Cyber Ireland: Text, Image, Culture
Indeed, when the previously ‘only possible’ becomes ‘achievable reality’ in these novels, all former limitations and established markers of stability are deconstructed. Both McCann and McCormack use computer technology as a byword for disorientating change; since all this is possible, they suggest, perhaps anything is. 3) when seen in contrast to the preceding decades. Notes from a Coma builds on this by presenting an Ireland only just over the horizon. If the present is already so radically different from the recent past, McCormack implies, the near future will surely be impenetrable.
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.
Indeed, their ﬁdelity to computers is arguably delusional, contradicting some of the earliest theories including the well-known ‘Lovelace Objection’. In 1842, Lady Ava Lovelace posited that the ‘analytical engine has no pretensions whatever to originate anything. 134). This foundational idea returns us to the concept of a computer and its component parts as objects onto which humans project their own narratives. The Lovelace Objection deﬁnes the relationship between humans and computers by undermining the threat or potential for machines to act independently.