Josie McNaught, "Interact to your heart's content," Wellington Dominion Post, August 10, 2002

"(Terminal Time) certainly takes interactive exhibitions to new heights by encouraging the audience to clap, hoot, shout, laugh, roar, stamp their feet, or stay completely silent, and in the process show its preference for key ideas about history. Visitors are seated in a mock TV gameshow theatre. ... ST@RT-UP curator Ian Wedde adds... 'So there's the Taoist, anti-religious, anarcho-feminist, superrealist, supermaterialist version of history or the optimistic, positivist, touchy-feely versition of history. They are all different. When the theatre's full you hear this mad applause and screams of laughter.'"

Patrick Lichty, “The Cybernetics of Performance and New Media Art,” Leonardo, Vol. 33, No. 5, May 2000, pp. 354:

“ Even though the concept of performance cybernetics provides a robust model for the study of theater participants’ interactions, there are events that blur the boundaries between performance and the performative. Once such work is Recombinant History Apparatus’ audience-based interactive video Terminal Time. …

“ What is unique to Terminal Time … is the fact that it utilizes a system in which several internal expert systems select the imagery by ‘consensus.’ They will not necessarily return identical historical narratives for repeated showings, even when the audience’s response is the same. This uncertainty hints at the beginnings of free association and feedback while staying within certain parameters typical of live performance. ”

Maria Fernandez, “Postcolonial Media Theory,” Art Journal, Fall 1999, pp. 71:

“ Terminal Time … is a ‘recombinant history engine’ that explores and critiques the notions of order and linearity in history by generating believable historical documentaries in response to audience polls. Rather than counteracting traditional historical writing by constructing a nomadic or chaotic narrative, the work exposes the problems of writing history in the contemporary period by demonstration … By constructing historical narratives with the collaboration of the viewer, the piece reveals the manner in which contemporary history is constructed by the media.”