We have "written" this narrative on pages of the poem taken from the proof sheets for the illustrations Blake did for Young's Night Thoughts. Upon these illustrations, Blake superimposed blank rectangular spaces that literally function as screens, both in the sense that they cover important parts of the illustration and because text (whether Young's, Blake's or mine) can be projected on them. These pages seem to be literal realizations of the metaphor of the fetishistic screen memory, and indeed they function as screen memories in Blake's poem, haunted by the ghosts of erasures, additional drawings, and Young's text, as well as the illustrations they cover. We have tried to capture this idea of the screen as a place of flow, litter, and libidinal accretion in our project.

The other discursive centers of the project consist of a series of quotations taken from theoretical discourse on the fetish, a series of quotations from The Four Zoas, fragments of an essay on the narrative function of Luvah in the poem, and a series of quotations from "outdated" criticism by Northrop Frye and Harold Bloom. The essay fragments are written in the style of advertisements for our particular take on the poem, and each is placed underneath a picture of a South of the Border billboard advertising the process of fetishization to which we have subjected the poem. Each billboard is also a hypertext link that jumps to a quotation by Frye or Bloom chosen for being blatantly ideologically suspect. We did this both because the fetishes of the New Critics are rather obvious and easily revealed, and to suggest that the essay, dependent as it is on the same structures of rational reference practiced in Frye and Bloom's work, is similarly suspect. The quotations from Bloom and Frye are superimposed over erotic sketches from the poem to suggest that their discourse is structured by repressed libidinal investments in Blake's text.

We hope that moving between these discursive centers functions to create an associative montage that, like a lane change in the tenth hour of driving, is both revelatory and anxiety producing. Hypertext links, like the fetish object, become locations where different discourses and ideologies are set in motion. Ours is an attempt then to organize the hybrid medium of the Web, not as a synthesis, but as "shuttling" (a metaphor implying a woven text) between multiple discursive positions and modes of subjectivation. Thus, in the project we have tried to construct an associative link between the production of traditional academic discourse, the narrative processes of Blake's poetry, and the stereotypes deployed by the fetishistic practices of advertising to suggest that they are similar in some important ways (the stereotype, like the fetish, is a short cut directly embodying an entire constellation of discourse). But in giving up the structures of argumentation, we have given ourselves over to a different mode of signification. The argumentative method would allow us to "prove" that these ideas reside in the text, but using the structure of the fetish forces us to open this assemblage of texts without stabilizing one particular meaning. The model of The Four Zoas shows us that in designing for the screen, we should take advantage of the associative logic of the link to unbind our discourse, to produce a subjectivity that recognizes itself as an emanation, a specter of the ideological forces acting on it, a self-reflexive identity constructed in the discursive interstices of the Web.