The Long Now Foundation was established in 01996* to develop the Clock and Library projects, as well as to become the seed of a very long-term cultural institution. The Long Now Foundation hopes to provide a counterpoint to today’s accelerating culture and help make long-term thinking more common.
The Clock and Library Projects
Below is an essay by a founding board member Stewart Brand on the need for, and the mechanism by which, The Long Now Foundation is attempting to encourage long-term thinking:
Civilization is revving itself into a pathologically short attention span. The trend might be coming from the acceleration of technology, the short-horizon perspective of market-driven economics, the next-election perspective of democracies, or the distractions of personal multi-tasking. All are on the increase. Some sort of balancing corrective to the short-sightedness is needed – some mechanism or myth which encourages the long view and the taking of long-term responsibility, where ‘long-term’ is measured at least in centuries. Long Now proposes both a mechanism and a myth.
It began with an observation and idea by visionary computer scientist W. Daniel Hillis : “When I was a child, people used to talk about what would happen by the year 02000. For the next thirty years they kept talking about what would happen by the year 02000, and now no one mentions a future date at all. The future has been shrinking by one year per year for my entire life. I think it is time for us to start a long-term project that gets people thinking past the mental barrier of an ever-shortening future. I would like to propose a large (think Stonehenge) mechanical clock, powered by seasonal temperature changes. It ticks once a year, bongs once a century, and the cuckoo comes out every millennium.”
Such a clock, if sufficiently impressive and well-engineered, would embody deep time for people. It should be charismatic to visit, interesting to think about, and famous enough to become iconic in the public discourse. Ideally, it would do for thinking about time what the photographs of Earth from space have done for thinking about the environment. Such icons reframe the way people think.
Hillis, who developed the “massive parallel” architecture of the current generation of supercomputers, devised the mechanical design of the Clock and is now building the monument scale version of the Clock in the Sierra Diablo range of West Texas near the town of Van Horn. The first Clock prototype is currently on display at the London Science Museum and others are at the headquarters of Long Now in San Francisco. The Clock’s works consist of a specially designed gear system that has precision equal to one day in 20,000 years, and it self-corrects by “phase-locking” to the noon Sun.
Long Now added a “Library” dimension with the realization of the need for content to go along with the long-term context provided by the Clock – a library of the deep future, for the deep future. In a sense every library is part of the 10,000-year Library, so Long Now is developing tools (such as the Rosetta Disk, The Long Viewer and the Long Server ) that may provide inspiration and utility to the whole community of librarians and archivists. The Long Bets Project – whose purpose is improving the quality of long-term thinking by making predictions accountable – is also Library-related. The point is to explore whatever may be helpful for thinking, understanding, and acting responsibly over long periods of time. – Stewart Brand
check out: About – The Long Now
Another generative work called Bloom, created with Peter Chilvers, is available as an app.
Part instrument, part composition and part artwork, Bloom’s innovative controls allow anyone to create elaborate patterns and unique melodies by simply tapping the screen. A generative music player takes over when Bloom is left idle, creating an infinite selection of compositions and their accompanying visualisations. — Generativemusic.com
Out of Eno’s involvement with the establishment of The Long Now Foundation emerged in his essay “The Big Here and Long Now”, which describes his experiences with small-scale perspectives and the need for larger ones, as well as the artist’s role in social change.
This imaginative process can be seeded and nurtured by artists and designers, for, since the beginning of the 20th century, artists have been moving away from an idea of art as something finished, perfect, definitive and unchanging towards a view of artworks as processes or the seeds for processes — things that exist and change in time, things that are never finished. Sometimes this is quite explicit — as in the late Walter de Maria’s “Lightning Field,” (above) a huge grid of metal poles designed to attract lightning. Many musical compositions don’t have one form, but change unrepeatingly over time — many of my own pieces and Jem Finer’s Artangel installation “LongPlayer” are like this. Artworks in general are increasingly regarded as seeds — seeds for processes that need a viewer’s (or a whole culture’s) active mind in which to develop. Increasingly working with time, culture-makers see themselves as people who start things, not finish them.
And what is possible in art becomes thinkable in life. We become our new selves first in simulacrum, through style and fashion and art, our deliberate immersions in virtual worlds. Through them we sense what it would be like to be another kind of person with other kinds of values. We rehearse new feelings and sensitivities. We imagine other ways of thinking about our world and its future. keep reading
02018 – it’s amazing how adding the 0 works on my brain!
You and I are a WORK IN PROGRESS and a SEED!
I hope we can reframe how we look at the future with inspired hope and less stickiness! For me music has always been vibration and transforming. I was a musician long before doodling as a writer.
In solidarity with #NEVER AGAIN
Lara Trace in 02018