Further thoughts about VTC2.0 - in dialogue with Caffyn Kelley
As artist-in-residence for August and September I've developed VTC2.0 (messages for the future), an interactive online artwork. To find out more about the piece please go here first.
Since publishing my initial thoughts I have been in dialogue with artist Caffyn Kelley about VTC2.0. Here are some extracts from our e-conversation:
Caffyn: Some thoughts about the time capsule text to add to the stew of your creative process - not pushing you to think one way or the other but just stray thoughts over a cup of virtual tea. I am wondering if you need to do the following:
· ensuring the capsule remains accessible by updating file formats and copying the disc onto new media when needed
· resealing the box each time it has to be opened
I think I would rather you assume that people in the future will have special collections libraries where weird files from the past can be deciphered. The other feels rather unwieldy and like it might compromise the silence of the capsule.
Justin: The unwieldy aspect is part of the work, for me. I have an open question in my mind about the rate of change of technology, and what that means in terms of longevity and contact between generations. For me these questions are inherent in the fact that I need to keep updating media and formats as time passes.
Caffyn: Wondered if - rather than you personally and your successor being responsible for the capsule, we could talk an institution that is likely to be around in 100 years into hosting the capsule. Depending on your level of pessimism re institutional survival, and then of course there is the chore of talking someone into it. Or what about just burying the disc in a copper box?...
Justin: Again, there are some inherent questions for me around what happens when I near death. The big one is -- will I be a known artist then? If so, of course I will be talking to institutions about safeguarding the box and arranging for it to be opened at the appropriate time. I love this idea, and the fact that it contains the usual artist anxiety about whether their name and work will live on beyond them.
If I'm not known then, there's a risk that the capsule's contents will never be seen. So an unstated part of my journey with this piece is to become more famous!
Caffyn: Is there any point at which the messages and images can be seen by others? In earlier correspondence when you spoke of inviting people and filling the capsule with a rich, diverse and intriguing set of messages it seemed as if we would be able to see what others had contributed, until the capsule got sealed. But from what you write below, I have a feeling that is not the case.
Justin: I thought about this a lot, and decided that the intimacy of a dialogue between a person now and a group of people in 100 years was the most exciting configuration. To an extent I think people will "perform" communication if they know that the box's contents are visible for a while now. Whereas if it's sealed without anyone seeing, then there's an intimacy and a permission to share secrets and difficult thoughts and feelings. Not sure if anyone will take up that challenge -- and of course I won't ever know!
I think for me there's a delicious frustration in knowing the box is there but we can't see it. For me the denial of access has a certain beauty and power, and in the end that was the way I decided to go with it.
Since publishing my initial thoughts I have been in dialogue with artist Caffyn Kelley about VTC2.0. Here are some extracts from our e-conversation:
Caffyn: Some thoughts about the time capsule text to add to the stew of your creative process - not pushing you to think one way or the other but just stray thoughts over a cup of virtual tea. I am wondering if you need to do the following:
· ensuring the capsule remains accessible by updating file formats and copying the disc onto new media when needed
· resealing the box each time it has to be opened
I think I would rather you assume that people in the future will have special collections libraries where weird files from the past can be deciphered. The other feels rather unwieldy and like it might compromise the silence of the capsule.
Justin: The unwieldy aspect is part of the work, for me. I have an open question in my mind about the rate of change of technology, and what that means in terms of longevity and contact between generations. For me these questions are inherent in the fact that I need to keep updating media and formats as time passes.
Caffyn: Wondered if - rather than you personally and your successor being responsible for the capsule, we could talk an institution that is likely to be around in 100 years into hosting the capsule. Depending on your level of pessimism re institutional survival, and then of course there is the chore of talking someone into it. Or what about just burying the disc in a copper box?...
Justin: Again, there are some inherent questions for me around what happens when I near death. The big one is -- will I be a known artist then? If so, of course I will be talking to institutions about safeguarding the box and arranging for it to be opened at the appropriate time. I love this idea, and the fact that it contains the usual artist anxiety about whether their name and work will live on beyond them.
If I'm not known then, there's a risk that the capsule's contents will never be seen. So an unstated part of my journey with this piece is to become more famous!
Caffyn: Is there any point at which the messages and images can be seen by others? In earlier correspondence when you spoke of inviting people and filling the capsule with a rich, diverse and intriguing set of messages it seemed as if we would be able to see what others had contributed, until the capsule got sealed. But from what you write below, I have a feeling that is not the case.
Justin: I thought about this a lot, and decided that the intimacy of a dialogue between a person now and a group of people in 100 years was the most exciting configuration. To an extent I think people will "perform" communication if they know that the box's contents are visible for a while now. Whereas if it's sealed without anyone seeing, then there's an intimacy and a permission to share secrets and difficult thoughts and feelings. Not sure if anyone will take up that challenge -- and of course I won't ever know!
I think for me there's a delicious frustration in knowing the box is there but we can't see it. For me the denial of access has a certain beauty and power, and in the end that was the way I decided to go with it.
Comment
About
© 2009 Created by Caffyn Kelley on Ning. Create a Ning Network!
You need to be a member of The Art of Engagement to add comments!
Join this Ning Network