time-based

Re:Activism is an analog game with direction provided through SMS and cell phone technology. Players race through neighborhoods to trace the history of riots, protests, and other political episodes in the history of New York City. Teams pit themselves against the clock and test their puzzle-solving skills to locate important sites representing acts of civic engagement and struggles for greater social justice. Activated by text messages from Re:Activism Central, teams reaching target locations respond to site-specific challenges that reinforce the historical content. Players must also activate strategic thinking by choosing to focus on racing or puzzle-solving, or a combination of both, to win points and become the most-active activists to win the game. Re:Activism was initially developed for, and first played during, the Spring 2008 Come Out And Play Festival. It has since been documented online and adapted into a downloadable kit to encourage redesign for use in other cities.

(source: Website PETLab)

This whimsical poem invokes one of the masters of idiosyncratic poetry, E. E. Cummings. Cummings used capitalization, spacing, punctuation, letters, and words in very unconventional ways to craft off-the-beaten-path poetic experiences. The speaker’s dream taps into this idea, by having e.e. rearrange the furniture in counter-intuitive ways. A simple interface for navigation from side to side presents different items of furniture, which reveal texts and brief animations towards new images when the reader places the pointer over them. Perhaps this is a metaphor for Cummings’ poetics, who rearranged letters and words to lead to new perceptions of ordinary things.

(Source: Leonardo Flores, in I ♥ E-Poetry)

A HyperCard stack that generates poetry (from an existing list of terms) based on the computer's internal time.  In addition to a static text around the edges of the clock (which can cycle with clicking), a dynamically-generated text appears in the center.

For more technical and literary information, please see Christopher Funkhouser's analysis at: arts.brunel.ac.uk/gate/entertext/5_3/ET53FunkhouserEd.doc