The Hundreds Cross Colours Capsule Collection
The Hundreds Cross Colours Capsule Collection > https://urluso.com/2sZPcK
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Time capsules are part of the ephemeral drollery of contemporarypopular culture, here today, gone tomorrow, often reemerging after beinglost, their collections of soggy and moldering remnants revealed, in the end,to be heaps of junk. William E. Jarvis's cultural history of timecapsules conveys the carnivalesque aspect of this subject, but it is also thefirst extensive scholarly treatment of it. The book's forty-seven-pageannotated bibliography and bibliographic appendixes are Borgesian in range.Citations to traditional sources are supplemented with references to obscureleaflets, bulletins, pamphlets, and assorted time capsule ephemera. Sciencefiction stories and science fiction films make cameo appearances in the text.Through diligent effort over a long period of time, Jarvis has apparentlylocated nearly everything germane to the cultural history of time capsules.
G. Edward Pendray coined the phrase "time capsule" inconnection with the "Cupaloy" ceremony held at Flushing Meadows,New York, in 1938, though its origins "can be tracked back at least tothe beginnings of ancient Bronze Age civilization, if not to even earlier,pre-metallurgical type cultures" (85). The first modern time capsule isattributable to Mrs. Charles Diehm and her "Century Safe"collection of artifacts, officially sealed in Philadelphia in February 1879(114). Noteworthy modern time capsules are defined by particularcharacteristics: their contents are deliberately chosen; preservation is anintegral part of their assemblage; they are intentionally deposited with apredetermined retrieval, or target, date; and they are usually associatedwith earth-bound ceremonial events. Thus, so-called vernacular or accidentaldeposits and foundation and votive deposits of indefinite duration like the1977 Voyager 1 interstellar space capsule are not, strictly speaking, timecapsules. The San Diego Frozen Zoo Collection could be considered a timecapsule.
Modern time capsules (notional and real) are designed to projectthe cultural gestalt of a particular era to future recipients at specifiedpoints in time, normally fixed between a hundred years and ten thousandyears, or in deep time. The extreme version of the time capsule venture seemstinged with collective narcissism and angst, not to mention an absurdutopianism. The significance of time capsules depends on conditions externalto their arbitrary collections of artifacts. Their potential for eliciting asense of cultural estrangement will largely result from the vivid contrastbetween their collections of time-dated contents and the deep structuraltransformations that will coalesce in their ambient deep time cultures. Theidea of radical cultural and technological transformations cumulativelyemerging from an accelerating sequence of linear events projected over (deep)time is usually associated with Western modernity. Archaic experiences oftime as nonlinear or circular would suggest a fundamentally differentexperience of time capsule--related phenomena. One axis around which thesedifferences play out involves identity. In ancient contexts a monolithicidentity is reaffirmed through ritualistic commemorative practices. Inmodernity identity is labile, its commemorative traces subject to erosionthrough an ineluctable process of historical amnesia. According to Jarvis,the Osaka, Japan, Expo 70 time capsule project is an imaginative attempt toembody and surmount these differences (162).
Today the contents of time capsule x are unremarkable because theyare commonplace; in three thousand years, x might vaguely suggest the gestaltof a vanished civilization, although precisely what this might mean isunclear; in deep time, however, the contents of time capsule x--assuming theysurvive relatively intact--would almost certainly require another Champollionor Ventris to decipher what, thousands of years previously, were itscommonplace and transparently meaningful artifacts and signs. (1) To date,the aptly named "Crypt of Civilization" located in Atlanta,Georgia, sealed in 1940 and scheduled for opening in the year 8113, is thelongest target-dated time capsule in existence. The crypt's lugubriouspreapocalyptic stasis commenced in an era noteworthy for genocide and thespread of nuclear and biological weapons. How and to what extent itsencyclopedic cross-section of materials will meaningfully represent Americanor world culture to deep time recipients is an intriguing but unanswerablequestion (20, 142-43). It is entirely possible that its curious melange ofartifacts will suggest the mournful residues of a barbaric and inhumanecivilization, far from the original intent of Thornwell Jacobs, itshigh-minded creator. When opened in deep time, crypt recipients might do wellto have an ancient theremin on hand in order to produce historicallyappropriate ceremonial sound effects.
We learn from Jarvis's book that the time capsule experienceis transhistorical and cross-cultural in scope, its rituals and ceremoniesrooted in the urge to commemorate, protect, sanctify, and elaborate (111).Perhaps the anonymous twentieth-century graffito artists who scribbled"Kilroy was here" epitomize a basic but crucial stimulus behindtime capsules. For now, Jarvis's treatise is the best place to get anoverall sense of the time capsule experience.
Joshua Ariza is an award-winning, multidisciplinary designer who has worked with some of the most iconic brands in the world, as well as the owner and founder of CHOMP, a surf/skate apparel brand. We tapped him and his iconic style to design our 30th Anniversary bike as well as a capsule collection so our fans can join in on the celebration. 2b1af7f3a8