But Gibson’s apparent hostility is modulated by his recognition that people might have made these things in order to ‘push back at the medium,’ to achieve ‘at least an illusion of parity with the sea,’ although only, in the case of the unstructured objects he is commenting on, through the hopeless and directionless metaphor of ‘treading water,’ ‘a simple repetitive human activity.’ The metaphor is terrifyingly apt. For parity with the sea is certainly a goal worth playing for. The white noise, wave formation, chaotic turbulence and unfathomable depth of the sea (or, more properly, ocean) provide (sublime, romantic) images of the anyspace in which poetic/artistic innovators ­ precisely those who push back at their medium ­ might hope to operate as the peers of other moving forces; while the Web, as a textual ocean, is the instantiation of these poets’ drowning pool, where most popular commentators see them as (pointlessly) treading water.