When I am with a crazy poem presented in a crazy manner...

... I have to bust out a paper and pen to make sense of it all.
OK, that above statement will make more sense once (or if) you read "When She is With I" written by Gregory Betts and illustrated/animated by Toke Nygaard, from the 1999 "issue" of Born Magazine. I suggest you go there and read it. (Please, it will make my job here sooo very much easier. No? Phooey! All right then.)
Note: I got a very concrete idea as a result of reading this piece, and write about it accordingly. View it for yourself, and it is quite possible that you will think of an entirely different interpretation.

The artists of this piece try to communicate the experience of existing in a large metropolitan area. The piece overpowers you while it obscures you view of the text, and by doing so confuses your sense of vision and your cognitive abilities at the same time. The artists want the viewer (as you are more than "just" a reader here) to labor to understand their vision of the world, just as they labor to see it and make us realize it. To this end they employ two strategies- on a white screen black text wavers and shakes, and is also covered by a black cloud that covers differing portions of the screen at different times, sometimes revealing all for a fleeting moment. Obviously, if one is to glean the words from under the blackness and shuddering, more effort is required than if the text sat there in Times New Roman on a static page. By confusing the senses the artists engage the viewer to delegate more resources such as time, attention, and concentration in order to understand, or even perceive, the piece in its entirety.
I think that the text and the animation work together in two different but reinforcing ways. First, the text refers to a journey of some sort through an urban landscape, with "time-scraped bridges", "human cave(s)", "light", and "glass", a place, "Where night means nothing, is just the same." When the words refer to the character making drums from bones ( of the city) while "talk-walk"ing "above human caves", in place full of light, so much so the might is as day, I take the text literally and see someone alone trudging through Time Square as the Metro Line chugs along underfoot. The clouds and shaking text are representations on two separate levels. First, the clouds are the crowds in the way of our character's progress through the city, and the shaking text is the hustle and bustle and the shaking of the streets themselves by traffic on and below them. Second, both the black cloud and the shuddering text demonstrate that this view/idea of city life is sometimes evident and sometimes buried beneath the level of conscious perception. The character in the work does not always think of the city in this way. Sometimes he/she just makes their way and is concerned with other matters.
I found myself struggling to make out the words themselves, shelving the "meaning" of the dark fog that interposed itself between my mind and the text until after I had the words transposed onto paper. I realized the function of the cloud and shuddering text right away, as I had trouble reading immediately. But I didn't understand the significance or purpose of these animations until I was able to read the text in another medium, namely on paper, grid paper at that, and then consider the text, animation, and my reaction to the whole affair. In a "gallery" without paper or motivation (in this case, the need to understand something well enough to spout off 500-750 words) I doubt that I would have made the effort to perceive the piece in tis entirety, which I think would be OK with the artists- the city don't care if you know what's going on, or who designed which building- it exists all the same.