The log book has fallen apart, but otherwise, the cache is intact.

The essay by exhibitions director Richard Klein was written before the work was actually installed, but he captures not only our process and the details of our research, but also the key conceptual turn:

The immersive experience that Finley and Muse have created—even though it is connected with specific characters and events—does not have fixed form, a definitive boundary, or a clear beginning or end. The video and audio channels are never presented in exactly the same relationship to each other, and the stories that are told overlap and merge with a landscape that itself constantly changes with the time of day, the weather, and the seasons.  Is the primary experience of the exhibition achieved standing in the darkened gallery watching a modern-day magic lantern show, or walking up a hillside, GPS in hand, to find a cleft in the rock that once sheltered a madman?  It depends on one’s perspective, and one’s view of what is real and what is not.

Yes, the primary experience should have been (and should be) of the fold that brings these times and spaces and stories together.  We hope that the technical, architectural, and geographical means multiply these perspectives, and that the stories themselves, of Sarah Bishop, the Leatherman, and Ridgefield’s celebrants, have a newly complex relation.

One in Ridgefield.  Another in North Salem.  And we’ve created a few travel bugs: 4 of the cruel captain and 4 of mother goose.

The ftf, “first to find,” the parade route cache, Brant, did so while we were placing the final.  He greeted us with, “have you seen a gecache around here?”  Yes we had.  So, we placed the final before him and documented his find:

The geocaching components of the show aim to put Sarah Bishop’s cave back on the map—and forward to the time of our clocks and satellites.

There are also travel bugs and two traditional caches, one on the Leatherman circuit and another that creates a Sarah Bishop circuit, from a North Salem cemetery to a mountain retreat to our version of Sarah Bishop’s cave.

Now, we’re working on an exhibition for the Aldrich Museum in Ridgefield CT.  We have a title, a lovely diorama (fabricated by Vanessa Marsh), a two channel intervalometer sequence of Ridgefield CT’s 300th anniversary parade (from deep in the morning to relatively late at night, with a smattering of parade dead center), a geocaching component, and two narrative sequences that combine accounts of the Leatherman and Sarah Bishop.  But there are a few video sequences to add: we will install a doubly articulated rotating video platform on the ceiling, one projector turning another on a fixed arm, like a moon orbiting a planet.

Here’s our shot list: