Perry Hoberman
In Timetable (1999), an image is projected from above onto a large circular table. Twelve dials are positioned around the perimeter of the table. The functions each of these dials changes and mutates, depending on what is projected onto them at any given moment. Dials can become clocks, gauges, speedometers, switches, steering wheels, and so on. A real-time 3D scene, projected onto the central part of the table, is controlled and influenced by the movements of the dials.

At the outset, the space of Timetable seems to be rational and unified, but the longer the piece is used, the more complex and multi-dimensional it becomes, as perspectives and timeframes diverge and split off from each other. Timetable attempts to make certain paradoxical (even impossible) pseudo-scientific concepts into concrete experiences, such as time travel, multiple branching universes, alternate dimensions and shared hallucinations.

The table itself represents a kind of giant immersive clock, but it could as easily be described as a board game without rules, a top-level meeting with no agenda, or a seance without spirits. At the end of a century in which all our ideas about time have been shattered and radically reconfigured,
Timetable is an attempt to play with concepts of time - to buy time and to spend it, to save time and to waste it, to find time and to lose it, to borrow it, to run out of it, to kill it.