1. How do you see the audience of the present and future encountering the work and its memory?
2. What new forms of remembering can you think of that challenge and augment current taxonomies and classification systems used in conservation and collecting of live art? ( ie. Would you consider migration or emulation of the work through time and acceptable extension of the life of the work? How does the obsolescence of technology figure in the extension of the works life).
3. Is your artistic intention necessary for the experiential dimensions of the work and its documents/traces? If not, why? If so, how?
4. How might we negotiate the conservation of live art works within academia, museums and official archives? What legal ( or non-legal) transactions and processes do you imagine using? What creative role might financial transaction play in this process?
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