Nothing beats a good indulgence after a tiring day of shuttling sight-seeing in Cyberspace. The problem of Cyberspace is not that there are nothing to do, but simply that there are too much to choose from. This chapter is devoted to solving this problem, thus to ensure that a peripatetic can select from his or her heart's desires the perfect form of entertainment and the arts.

Bookstores are aplenty in Cyberspace, carrying literature from the classics to the postmodern. However, one will not expect to turn the pages of a traditional novel here but to order them online through expanding services such as the Amazon.com. Similarly, there are abundant sources of good hypertext novels such as the acclaimed Afternoon by Michael Joyce. Or, there are always the experiments of large-scale hypertext fictions on the Internet.

Tired of reading? Want to catch the latest film?
In the history of communication systems, paradigms borrowed from old media have always mediated the passage to new ones, regardless of their technical differences. T.S. Eliot has stated in precedence the relationship between an old order and a new one. From paint to photography, from theatre to cinema, a period of adapting old forms helped emerging media to find their own aesthetics according to own distinctive technical characteristics. Currently, we see the theories of hypertext being applied to cinematography.

Cinema and hypertext have several features in common. Like cinema, hypertext is a visual medium, the computer screen being a visual field where narrative space and time arise from a temporal articulation of spatial components. Like cinema's shots, hypertext components constitute "self standing cores" of content, whose connection effects and expresses a strong semantic relationship. As hypertext fragments are not physically contiguous elements but rather untied units, their temporal or spatial contiguity, due to the activation of a link, actually constitutes a juxtaposition, a generative combination, a connection creating meaning - this may be the key parallel between the two media's narrative models.

Live performances broadcasts are much more convenient than the hustles of queuing for rock concert tickets. If you receive three-dimensional models of a sporting event rather than a stream of two-dimensional video images, you could take control of some directorial functions by selecting viewpoints and operating a virtual camera.

This list of entertainment plus on-line museums is certainly not exhaustive. However convenient and extensive Cyberspace provides for the leisure-seeking peripatetic, we do emphasis its limits. There remains the question of reality perceived in Cyberspace when it comes to the arts. As far as human interaction is concerned, the arts are still delegated to a special, indispensable role. There can only be one, albeit old traditional way of performing arts - and that is still outside of Cyberspace. We personally cannot imagine being able to be swept away while watching the ballerinas from companies such as the American Ballet Theatre dancing on our small computer screens.