The exhibit proves that the temporal anomalies manifested themselves corporeally on past temporal planes. This photograph highlights two, presumably wed, anomalies standing in the center of a road. A noteworthy characteristic about this exhibit, which distinguishes it from the remainder of the canister’s contents, is the lengthy, yet clear, shadows extending off of the legs of the anomalies. This proves that some travelers opted not to don any sort of protective camouflage or invisible cloak, but rather chose to venture through time wearing nothing but the clothes on their backs. The agency is still debating why those present at the time of the travelers' arrival didn't document the case in the public records.
So far, several theories have been developed. Many believe that those who traveled without the protective invisibility cloaks did so only to lands occupied entirely by blind people. This, of course, would involve little risk, sans, of course, the potential language barrier. For this reason, many also believe that the lands to which the travelers journeyed were also occupied entirely by deaf people, but history has yet to present any nineteenth century town entirely occupied by both blind and deaf citizens. Others offer mind control as a means by which the anomalies escaped public documentation, but most involved with the project believe the former theory has more validity.
As with its predecessor, this exhibit accentuates the physical presence of the anomalies in the time in which the picture was taken. Yet, with this particular piece, it is unclear as to whether or not the male anomaly is acknowledging the camera. If indeed he is staring at the photographer, one wonders why the photographer continued with the process of capturing the image without, again, somehow documenting the anomalies' presence.
The dynamic between the two anomalies reflects a certain degree of tension within the relationship, almost as if they are lost in their present location. If such a circumstance is the reality, it sheds a great deal of light on the competence of both people from the future as well as the entire time traveling enterprise. The agency has not yet to come to a decisive conclusion as to why the subjects would be lost. They're in the middle of the street. Where else could they be? We wonder if their feeling of despair of misdirection suggests an overall feeling of futility for people in the future, as if to say no one really knows where they are at any one time because they always wish they were somewhere else.
At this time, the agency will not disclose the extent to which it feels this photograph is proof of the presence of futuristic anomalies. The distinguishing characteristic which separates the figures on the left side with the remainder of the pictured men is simply their style of dress. While the agency acknowledges that this strange style may indeed be indicative of temporal alterations, it also wishes to posit that the clothes may reflect nothing more than regional disparities or ethnic influence. Since no other physical attributes fail to place the subjects within the given parameters of the tintype era, the agency feels it prudent to remain silent on this particular exhibit.
However, all formalities aside, we feel this exhibit provides substantial evidence to suggest that these gentlemen are from a time other than the one portrayed by the photograph. Yet, in order to address our concerns fully, we seek permission from the agency's Department of Full Disclosure Permission Distribution. If permitted, we will disclose our findings at a later time. For now, we consider it justified to draw your attention to the hooded garments each of the subjects is wearing. Therein lies the crux of our position.
The exhibit's anachronistic subject has used his cognitive alteration device to stupefy the younger sister of the child sitting on the chair. It's clear from this photograph that the device in the hands of the time traveler has the ultimate power to place even the most autonomous individual under its mind control. The portable nature of the device makes it an ideal candidate for potential global attacks and international espionage. Furthermore, based solely on the size of the unconscious child, the device appears to also have the capacity to shrink the human anatomy, particularly the brain.
The grin on the subject speaks to the status of children in the future. Evidence suggests that the sanctification of future children will retard the development of scientific pursuits and technological advances despite the seemingly monumental invention of time travel. The exhibit also demonstrates the extent to which children will be revered in the future. By accentuating the lackadaisical smirk upon the face of the subject, one may suspect a burgeoning sense of attraction for the little girl. We have no comment on that issue at this time.
The exhibit demonstrates the propensity the time travelers must have to thirst--such that their cravings necessitate a receptacle far in excess of standard contemporary drinking protocol. Perhaps the anomalies originated in a time when the earth's water supply is overabundant, or perhaps in the wake of nuclear war, the human race has been genetically modified to require exponentially more liquid sustenance than we currently need. The evident hyper-consumptive proclivities of the time travelers indicate an ominous future for all mankind.
The exhibit suggests that communication in the future will not be executed face-to-face, but rather through personalized, handheld devices. The reverent gesture of the subject indicates the deification of these future technological devices, perhaps replacing contemporary notions of spirituality and divinity with mankind's own technological endeavors. Furthermore, the aesthetic choices displayed by the adult male subject reflect the future infantilzation of mankind, thus, once again indicating an ominous future for earth's citizens.
The exhibit demonstrates the methods by which the travelers transported themselves through time. Using some sort of spontaneously morphing elevated air tunnel, it appears as though at least one anomaly could be transported from one point in time to the next. The absence of any written accounts in the public annals regarding the presence of the time travelers suggests that they, in contrast to other abnormalities, wore some sort of invisible cloak while on their journeys that was only made visible when combined with the chemicals present in the tintype. While impervious to the scrutiny of the naked eye, this apparent photographic-vulnerability indicates that the future is a place where an abundance of cameras risks the safety of all who are ever exposed to their lenses. Indeed the falling motion of the anomaly at the point when the picture was taken proves that cameras have the power to strip a mortal of its life. Scientists are searching for the descendents of the photographer of this exhibit so that they may be held accountable for the death of the anomaly.
The rustic nostalgia of the house pictured in the tintype offers evidence for a pervasive desire to return to nature in the future. We conclude that since the time travelers chose this humble farm as their final destination, it meant that something was unsatisfactory about their life in their futuristic cities, therefore prompting them to seek solace in the open fields of the past. Perhaps in the future, the machine has taken over the garden altogether: an idea whose logical extension does not necessarily bode well for the continued prosperity of the human race.
The exhibit provides conclusive evidence for Communist prevalence in future temporal research. The cylindrical canister functions as an alternative fuel source for Red officials and suggests their capacity for indefinite food preservation and substantial caloric mobilization. Their interest in the American nineteenth century undoubtedly stems from their desire to strip our temporal plane of our current leaders so that their kind may increase their salience in the international spectrum. The exhibit in no way corroborates the theory that the canister merely contains food, though some of the younger scientists with the agency claim the specimen is used for transporting "potato chips."
The exhibit identifies integral tenets to future militaristic strategies and deployment scenarios. The subject watches elephants in order to grasp their maneuvering capabilities, possibly with echoes of Hannibal's tactical pursuits. The exhibit indicates that future wars will not be fought by people, but by previously domesticated animals which are then manipulated into insurmountable ground regiments. The recreational demeanor of the subject suggests that in the future, wars will be more about fun than the acquisition of land or the preservation of freedom.