docuverse: A global distributed electronic library of interconnected documents, in other words a global metadocument. (1974) 
fangles: White, specially cut file folders that start as 8 1/2-by-11-inch envelopes. Used with Ted Nelson's personal, physical filing system. 
hypertext: Text displayed on a computer display or other electronic devices with references (hyperlinks) to other text that the reader can immediately access, or where text can be revealed progressively at multiple levels of detail. (1963) 
intertwingularity: The complexity of interrelations in human knowledge. Nelson wrote in Computer Lib/Dream Machines (Nelson 1974, p. DM45): "EVERYTHING IS DEEPLY INTERTWINGLED. In an important sense there are no "subjects" at all; there is only all knowledge, since the cross-connections among the myriad topics of this world simply cannot be divided up neatly." (1974) 
micropayment: A financial transaction involving a very small sum of money and usually one that occurs online. 
populitism: An ideology where the popular and the elite will find themselves at the same ground level, without feeling the verticality of the hierarchies; a sort of anarchy. (1975) 
technoid: (also known as chipmunk) A person, or the characterisitc of, exhibiting intense interest in or proficiency with technology. 
teledildonics: (also known as cyberdildonics) Technology for remote sex (or, at least, remote mutual masturbation), where tactile sensations are communicated over a data link between the participants. The term can also refer to the integration of telepresence with sexual activity that these interfaces make possible. (1975) 
Transcopyright™: A license where content may be freely quoted and remixed without special arrangement– but where nothing is taken out of context, everything is paid for as required, and the author's moral right is preserved.
virtuality: The seeming of anything, as opposed to its reality. (This has been the dictionary meaning of "virtuality" since at least the 18th century). Everything has a reality and a virtuality. Nelson divides virtuality into two parts: conceptual structure and feel so in every field these have different roles. The conceptual structure of all cars are the same, but the conceptual structure of every movie is different. The reality of a car is important, but the reality of a movie is unimportant--how a shot was made is of interest only to movie buffs.