The shift in viewpoint from Stephen Dedalus to Leopold Bloom is an interesting one in terms of what it means for the message of the novel as a whole. If Dubliners is an experiment in showing the world through the eyes of many different characters in short stories, and Portrait of the Artist is an experiment in portraying the world as it appears through the consciousness of a single person, then in making the leap from the mind of Stephen Dedalus to the mind of Leopold Bloom, Joyce is succeeding in his goal to “forge in the smithy of [his] soul the uncreated conscience of [his] race” (Portrait 244). He extrapolates his technique of narrating the subjectivities of a single person (who is a literary depiction of himself, Stephen Dedalus) to another person whose mind is not his own.
And in expanding his literature to narrate the happenings of a mind outside of his own, Joyce finally makes true art, in that he can embody this “uncreated conscience” in a work of art. In other words, making the leap from himself to another character is the symbolical leap from the artist as a young man to the artist as his fully evolved self. In incorporating the element of the Odyssey, Ulysses announces itself as a novel of the human race, which might be a reason why it is such an important book; Joyce tries to squeeze into words all of what it means to be a person with perceptions. I believe that this is at least part of, if not the entire goal of the aesthetics that he describes through Stephen Dedalus.