Paradoxically, as this window of opportunity opens and closes, as the cultural productions of previously analogue-only sensoria are progressively digitised, the already digital field of text gains access to modes of publication (or performance, if you prefer) which, although not regressively analogue, are nonetheless time-based. Textual movies, texts as movies, are now with us (and will even be tanked into Quicktime and other standards which underlie multi-media development). Language art already encompasses, for example, kinetic text (high bandwidth Grammatron 1.0 opens with a simple version of this, implemented through the html meta tag), holographic text (Eduardo Kac), 3D textual worlds (Jeffrey Shaw, Ladislao Pablo Gysri) and other literary objects which are experienced as time-based. This will demand the development and application of new rhetorical tropes and figures to text which has previously been dominated - up to and including the implementation of link-node hypertext - by spatial structuring, by topographic rhetoric (though enclosed within the easily-granted linearities of print and narrative). Cinema will provide the privileged source of metaphors for these figures. To see what I mean, you should imagine a significant development in the kinds of textual transition and montage effects that we see in experimental typographic design, advertising and cinematic titling. These figures should quickly replace the hollow, passionless 'link' allowing time-based text art to emerge with a rich, cinematic rhetoric that is derived from the art of letters rather than exclusively or predominantly from visual art, music, or, as now, by default, from the arbitrary exigencies of the 'human-computer interface'.