[2]The advent of the World Wide Web has benefited hypertext immeasurably, by vastly increasing exposure of hypertext to a truly mass audience; however it is regrettable that the limited forms of hypertext activity currently available in HTML have served the opposite purpose, namely to limit understanding of the variety of hypertext activities that are possible.

[3]At its most extreme, hypertext structure may be used to represent the structure of syntax itself. In this case one clearly has conjunctive structure: a sentence consists of all of its parts; e.g. if we describe a sentence as consisting of a noun phrase and a verb phrase, the noun and verb phrases are hardly alternatives.

[4]Gerard Manly Hopkins defined an outrider as a syllable which "doesn't count" in the prosody. This author must confess to not understanding the idea of a syllable which "doesn't count". The idea of an emptiness which "doesn't count" is conceptually easier to understand, but one can imagine it also being problematical.

[5]In "A Note on the Methods Used in Composing the 22 Light Poems", (Mac Low, 1968), Jackson Mac Low instructs: "The empty spaces in `Asymmetries' are notations for silences lasting at least as long as it would take the reader to say the words printed directly above or below them." A similar approach might leave a silence between units equal to the length of the last measure encountered, or the last rhythmic line. A directive "leave whatever silence between units seems natural" might tend to resolve to one of these possibilities.

[6]A more troublesome issue is text imposed by the computer system itself, e.g. the words visible on a menu bar. Is such text like the invisible stage hands of the Japanese theater -- there but "you don't see it"? Or what about text visible from another window? Should this be treated the way John Cage treated ambient sound?

[7]Ted Nelson, who coined the term `hypertext', has consistently advocated that all links should be bidirectional. (Nelson, 1981).

[8]On a similar note, permit a personal anecdote. In the early seventies I made several pieces on magnetic tape using simultaneous overlays of my own voice. For one of these pieces I realized I could control these overlays very precisely by building up each fragment through making a tape loop of what was already laid down, making a tape loop of the voice to be added, then by controlling the offset of these tape loops could get the desired effect. In one case the composition scheme called for a simultaneous attack (to use the electronic music term) of all of the voices. On one pass round the loop I "knew" I had nailed it exactly. But for some reason I decided to analyze the result at slow speed. Doing this it became clear that the attacks -- in acoustical terms -- were not simultaneous at all. What did line up simultaneously were the stressed syllables in each voice. The ear "heard" the attacks as being simultaneous -- retroactive from the vantage point of having heard the stressed syllables. Linguistically the words sounded like they all started at the same time, even though acoustically this did not happen.

[9]In technical computer usage, a daemon is an asynchronous process -- typically invisible to the user -- which performs a particular type of work periodically or on request "in the background". E.g. in most multiuser systems there is typically a daemon for delivering electronic mail. Another type of daemon responds to requests to view World Wide Web pages, etc.