Here’s the review.

Download the Imaginative Feats stills here, Sleeping Under Stars here.

The catalog for Imaginative Feats is now on the bookshelf.

The screenings are scheduled for Saturday, May 29 at 7:30pm and Sunday, May 30 at 2:00pm, in a program with short films by Lewis Klahr, David Wilson, and Bill Brown.

Juicy new publicity stills are here:

Download the complete set here.

The major changes, many of which can also be charted in the installation shots and clips:

1. The hanging panels, however so configured, didn’t work in the space: the room, broken up, didn’t hold any of the images well, and the panels didn’t work with the scale of the parade footage.  We abandoned them and opted instead to project the parade onto the far wall such that the side walls were hit too, distorting the image and casting a shadow of the rotator.  The parade footage now put viewers into the parade itself.  And the shadow of the diorama overlapped the parade, creating one continuous transition between forest and street.  We faded the outside edges of the parade to make the overlap cleaner.
2. The ceiling-mounted rotator was pushed as far to the right wall as possible, thus do the images on the opposing wall grow large against the shadow of the diorama and shrink to bright jewel-like lozenges when on the one nearest.  They often cross on the near wall, one image appearing to stand still, the other moving by.  Doing this maximized the rhythmic weave of the two projectors turning against one another.  When turning, the outer-most rotator looks like it will hit the wall; it comes close, to our delight.
3. We cut one of the video sequences on the rotator to an narration track, wanting to push audio to a parabolic speaker hanging below it, but we decided that the speakers (one over the diorama and one under the rotator) weren’t working in the space: the room was for us a whole; and forcing viewers and listeners to occupy positions under domes cut against the grain of the concept: the gallery is Sarah Bishop’s cave.  And the voice booming through the room and against the parade synch-sound and the Scott mash-up was more appropriate as a whole.
4. The diorama began at the far end of the room and came back to the front, but instead of throwing the shadow into the corner, we spilled the image down the wall so that it merged with the left-hand parade sequence.
5. When installing, we placed the parade view from the camera on the left side of the street on the left side, and the right on the right.  But doing so created an odd illusion of cars and the parade emerging from the sides and converging in the center.  So we flopped them: the camera on the right hand side was switched to the left for projection, and the left to the right.  The cars and the marchers then race from the center to the periphery, along the walls.
6. The computer, which we had considered placing in the gallery, a cave within a cave, had no natural home in the gallery.  We moved it outside.

Deb Keiser writes,

Think about it: The hermit’s life was based on the changing seasons, the vagrant ticked off time through his regimented wandering, and the days of today’s residents are marked and guided by the minutes and seconds of hand-held devices—from cell phones to the GPS.

In a note we posted a mia culpa:

Intrepid cachers have alerted me to an error, which I’ve corrected above. I orginally gave these coordinates to which you should add the three digit clue:

41° 14.223′N

073° 36.166′W

I should have given:

41° 14.223′N

073° 32.166′W

My deepest apologies!

Fortunately, the teams that finally found the cache were forgiving.  And they helped us revise the listing.  All is more or less well now with this cache.

Here it is:

Guarded would have occupied the center of the room, Flat Land the far right side, shielded from Guarded by a rear-screen panel.  Lost doesn’t appear at all.  Hardly workable this.  None of the galleries movable walls figure in this layout; and the old wall that blocks the emergency exit on the lower right wasn’t considered at all.

The final isn’t in the park, but at the nearby home of a dear friend; hence does the cache pass muster.

We’re proud of the accompanying images that support the puzzle:

The relevant paragraphs:

Participation is pretty much the essence of Sleeping Under Stars, Living Under Satellites, which extends beyond the museum into Ridgefield. Created by Jeanne Finley and John Muse, it uses sculpture, video projection and geocaching, a GPS-guided treasure hunt, to contrast ways of experiencing time and location.

Inspired by local history, the artists have created three geocache routes. One is based on the life of Sarah Bishop, who lived in a cave in northern Ridgefield for decades after the Revolutionary War. The second route follows the Leatherman, a 19th-century vagrant who repeated a 365-mile circuit through Connecticut and New York every 34 days. The third covers the parade route taken this past Fourth of July to commemorate the 300th anniversary of Ridgefield’s founding.

Ms. Finley and Mr. Muse are activating bar-coded “travel bugs,” which geocachers must find and deliver to a replica of Ms. Bishop’s cave that they built inside the museum. Visitors with GPS devices or travel bugs will receive free admission to the museum through the exhibit’s run.

The full article covers the other exhibiting artists Jo Yarrington, Chad Kleitsch, and Tom Malloy, as well as Paying a Visit to Mary a show curated by the Aldrich’s curatorial fellow, Maxine Kopsa.