The hypertext writer is both “vanguard artist and academic critic,” a heuretic functionary, as Greg Ulmer might call him, capable of producing as well as consuming theory (xii-xiii). He publishes to cyberspace, certainly in some ways a less-forgiving corporative Westworld, where a subject may re/invent himself while confronting others doing the same, but only while concurrently acquiring the cultural capital necessary in order to serve capital. The metaphor that will best allow us to see how the posthuman discovers his condition, transcends his commodity form must therefore be more than a Westworld and instead a mirror, the looking glass through which Alice falls, the stage in the Lacanian Imaginary, the mirror in Velásquez’s Las Meninas—a painting of a painting—or better, Michel Foucault’s “mirror” in Las Meninas, a primitive technology, indeed, but one that would allow an observer to observe himself being observed if not for the artist’s deliberate intervention, that is, the artist’s blackening the part of the reflection that is the observer’s, that is ours, what Foucault calls the “other side of the psyche” (6).  One might imagine an instructor from the old school, the New Critic, say, or the Oxford don, intervening in a similar way.