Donald F. Theall claims that Finnegans Wake is engaged within a self-conscious meditation with the new media technologies of the twentieth century (radio, film, television) that is not without consequence for newer and flashier technologies of emission, diffusion and abstraction. "The Wake dramatizes the necessary deconstruction and reconstruction of language in a world where multi-semic grammars and rhetorics, combined with entirely new modes for organizing and transmitting information and knowledge, eventually would impose a variety of new, highly specialized roles on speech, print and writing" (Theall).
In the "middayevil" (FW: 423.28) world of the "computer" and the "Internet," the book has become unbound, broken down and coded into binary data that are recathected into a diffuse yet seemingly complete and total nexus of information that circulates around the globe in order to recombine and reappear as ghostly cathode cinders. But despite the wonderful and wondrous media technologies, perhaps Maurice Blanchot is correct when he writes: "Quoi que nous fassions, quoi que nous écrivions... la littérature s'en empare et nous sommes encore dans la civilization du livre" (Blanchot 1969, vi).