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I:3.  The machineries of hypertext, cybertext and poetext are still often confused with the potential rhetorics they adumbrate. Even if these transient terms (as likely to fade and die out as to thrive within a short space of years or months) referred to physical delivery media, such as those associated with the cinema, there would still be no need in critical discourse to confuse the equivalent of camera or projection device with, for example, the grammar of montage. In fact, these technologically overdetermined textualities are realized in formal engineering which is itself “authored” and this fact provides such textualities with many of the qualities which most clearly distinguish them from other, previous and still dominant, technologies of literary culture.

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