The event starts at 6:30, with doors at 6:00pm in the Koret Auditorium of the De Young Museum.
A “Long Conversation” is a relay style speaking event. In this case, it is a 2 hour relay of 10 minute public conversations between 11 pairs of speakers who will be speaking on “100 Years of Robot Art and Science in the Bay Area”. The conversation is part of a larger exhibit honoring the 100 year anniversary of the 1915 Panama-Pacific International Exposition. The participants of this conversation include:
Josette Melchor (Grey Area Foundation for the Arts)
Dorothy R. Santos (writer, curator)
Tim Roseborough (artist, musician, former Kimball Artist-in-Residence)
Terry Winograd (Computer Science department, Stanford Univeristy)
Kal Spelletich (Seeman)
Artist Jenny Odell, who will be providing live images (VJing)
Friday Nights at the de Young are after-hours art happenings that include a mix of live music, dance and theater performances, film screenings, panel discussions, lectures, artist demonstrations, hands-on art activities, and exhibition tours. Local artists conduct drop-in workshops, debut new commissions, display their art in the Kimball Education Gallery, and take part in conversations about the creative process. The café offers a delicious prix-fixe menu and specialty cocktails, and the Hamon Tower observation level is open until 8 pm. Artists-in-Residence, curators, scholars, and arts educators play active roles in making Friday Nights an engaging museum experience.
Fort Mason Center for Arts & Culture and the San Francisco Museum of Modern Art co-present the California debut of Janet Cardiff’s immersive sound installation The Forty Part Motet at the newly opened Gallery 308, right next door to The Interval. The Forty Part Motet is a 40-part choral performance of English composer, Thomas Tallis’s 16th-century composition Spem in Alium, sung by the Salisbury Cathedral Choir. The performance is played in a 14-minute loop that includes 11 minutes of singing and 3 minutes of intermission.
Individually recorded parts are projected through 40 speakers arranged inward in an oval formation, allowing visitors to walk throughout the installation, listening to individual voices along with the whole. Cardiff’s layering of voices creates an emotionally evocative sound sculpture that feels intimate, even within a public space.
Long Now is proud to be a co-partner with YBCA in showing “Troublemakers: The Story of Land Art”. The film will be shown at 7:30 PM on Thursday October 29 and 2:00 PM on Sunday November 1 at YBCA’s Screening Room.
Troublemakers unearths the history of land art, featuring a cadre of renegades who sought to transcend the limitations of painting and sculpture by producing earthworks on a monumental scale. Iconoclasts who changed the landscape of art forever, these revolutionary, antagonistic creatives risked their careers on radical artistic change and experimentation, and took on the establishment to produce art on their own terms. The film includes rare footage and interviews which unveil the enigmatic lives and careers of storied artists Robert Smithson (Spiral Jetty), Walter De Maria (The Lightning Field), and Michael Heizer (Double Negative). (2015, 72 min, digital)
Long Now Members get $8 discounted tickets to the screening, check your email for instructions on how to reserve your discounted member tickets. Troublemakers will be shown in other cities as well, check here for your local screening.
Technology enables art, and artists push technologies to their limits. That’s just part of the long-running story that Mathieu Victor will tell in his salon talk on January 20 at The Interval at Long Now in San Francisco. It’s a story that features Bell Labs and Marcel Duchamp, Computer Numerical Control (better known as “CNC“) and, yes, lasers, too.
Artist Mathieu Victor at The Interval
Mathieu’s talk will survey centuries of fine arts practice as well as some of today’s most cutting edge work. Trained as an art and technology historian, he has hands-on experience in bringing ambitious projects into reality including his work as production manager for artist Jeff Koons.
Koons’ studio is one of the world’s largest purely fine arts enterprises, integrating a “factory” and “design studio” model and employing hundreds of artists and an international network of fabricators. In his more than a decade of work with Koons, Mathieu oversaw the technical aspects of this multidisciplinary practice, working with professionals ranging from fashion designers to aerospace manufacturers.
Jeff Koons, “Gorilla”, CNC Milled Absolute black granite, 2009-11. Photograph: Timothy A Clary/AFP/Getty Images
In the course of his fabrication work Mathieu has run R&D projects with GE, Delcam, AutoDesk, M.I.T, and other industry leaders in creative and manufacturing technologies. He has collaborated with many of the world’s top creative entities including BMW, Stella McCartney, Taschen Publishing, Lady Gaga, and the Macy’s Thanksgiving day parade, and lead some of the most ambitious efforts to date in applying manufacturing technology to the fine arts.
Through collaboratively and competitively describing objects from a range of possible futures, The Thing from the Future players confront questions about the near and long-term future from unconventional vantages that yield creative solutions. Each round of the game begins with a collectively generated creative prompt that describes the type of future a yet-to-be-imagined object comes from, as well as where it fits in a given culture or society, what kind of object it is, and what sort of emotional reaction an observer from the present might have when confronted with it. The player who comes up with the most compelling future scenario wins the round.
The Thing from the Future underscores how the constraints of generative systems can be used to inspire long term thinking. In their 02006 SALT talk Playing with Time, Brian Eno and Will Wright discussed the role of generative systems in their respective fields of music and game design.
“The power of generative systems is you make seeds rather than forests.” -Brian Eno, June 02006 Playing with Time SALT
Whether a game of chess, a computer simulation of a city, or a piece of music, from a simple set of rules, or “seeds,” complex futures emerge. Changing any one of these rules vastly affects the future outcome. In the case of The Thing From the Future, the constraints are the key to enabling players to break out of traditional patterns of thinking about the future. In that sense, The Thing From the Future evokes Eno’s Oblique Strategies, a card game of aphorisms that the artistically-inclined are encouraged to turn to in moments of creative blockage. For example: “Do nothing for as long as possible.”. “Repetition is a form of change,” reads another.
The Oblique Strategies evolved from me being in a number of working situations when the panic of the situation – particularly in studios – tended to make me quickly forget that there were other ways of working and that there were tangential ways of attacking problems that were in many senses more interesting than the direct head-on approach.
In much the same way that Oblique Strategies inspires “tangential” ways of thinking in moments of creative panic, The Thing from the Future grounds musings about the future and turns them into concrete scenarios.
The Thing From The Future, while intellectually stimulating, is at its core, fun, and meant to be played by anyone. You can buy it online here or stop by and ask to use the deck we keep at The Interval (open daily from 10am-midnight).
We have just announced our lineup of upcoming events at The Interval for 02015. The first four months of the year will feature talks on art, science, history, technology and long-term thinking. Tickets are on sale now for the first two:
Space is limited at these events and tickets will sell out. So get yours early. If you make a tax-deductible donation to The Interval you’ll be added to our list for early notice about Interval event tickets. More information on these events below.
When we opened The Interval in June 02014 one of our goals was to host great events in our cafe/bar/museum space at Fort Mason in San Francisco. It was important that these talks complement our larger format Seminars About Long-term Thinking series which we produce for audiences of several hundred in San Francisco each month and are enjoyed around the world via podcast.
So The Interval’s “salon talk” series events are more frequent (2 or 3 times a month) and intimate: fewer than 100 people attend and have the chance to meet and converse with our speaker afterward. So far we’ve produced 14 events in this series and all of them have sold out. They are being recorded and will eventually become a podcast of their own. But we don’t yet have a timeline for that, so your best bet is to attend in person.
Tuesday January 6, 02015: Scotty Strachan: Long Now’s Nevada: the Great Basin in the Anthropocene
Our first Interval salon talk of 02015 features geographer Scotty Strachan discussing the Great Basin region of eastern Nevada. Amonst his other work Scotty conducts research on Long Now’s Mount Washington property. Scotty has done extensive work with bristlecone pine trees which are amongst the oldest organisms on the planet often living for several thousand years. He will discuss his work in eastern Nevada and put it in perspective with climate science efforts worldwide.
Tuesday January 20, 02015: Mathieu Victor: Artists with Lasers. Art, Tech, & Craft in the 21st Century
A creator, art historian and technologist, Mathieu Victor has worked for artists, galleries, and leading design studios. Mathieu’s study of past practice matched with his experience in executing extraordinary contemporary projects give him a unique perspective on how art in the physical world benefits from the digital age.
Other highlights of the 02015 salon talk schedule that we’ve announced: The Interval’s architect/design team Because We Can and Jason Scott of the Internet Archive will speak in February; and Pulitzer Prize winner Richard Rhodes will talk about his new book on the Spanish Civil War in March. More talks will be announced soon. We hope you’ll join us at The Interval soon.
It started with a seed planted in the mind of Scottish artist Katie Paterson when she made the connection between tree rings and chapters of books. Now several years in the making, Paterson’s vision will unfold over the next century in her artwork Future Library–an ambitious and evolving piece that will outlive Paterson and most of us living today.
Photo by Giorgia Polizzi
In the summer of 02014, Paterson and her team planted 1,000 Norwegian Spruce saplings in the forest Normarka, situated just outside of Oslo. The site is about a 25-minute walk from a metro station, yet according to Paterson, feels deep within the forest and has no city sounds.
Photo by Giorgia Polizzi
These trees will supply the paper for an anthology of books to be printed in a hundred years’ time, when the saplings are fully grown. In the meantime, one writer every year will be invited to add a new text to the collection of unpublished, unread manuscripts held in trust at the New Public Deichmanske Library in Bjørvika until their publication date in 02114. The text can take on any length, form, and genre. The only request is to have the work submitted by manuscript within one year of invitation. As the trees grow, so does the collection. Katie Paterson explained:
The idea to grow trees to print books arose for me through making a connection with tree rings to chapters – the material nature of paper, pulp and books, and imagining the writer’s thoughts infusing themselves, ‘becoming’ the trees. Almost as if the trees absorb the writer’s words like air or water, and the tree rings become chapters, spaced out over the years to come…This artwork will bring together the work of preeminent writers, thinkers and philosophers of this and future generations. It is an artwork that belongs not only to us and the City of Oslo now, but to these who are not yet born.
With the forest planted, the next key part of the Future Library is designing the Silent Room to house the unpublished texts in the New Deichmanske Library, which will open in 02018. In collaboration with the library’s architects Lund Hagem and Atelier Oslo, Paterson is specially constructing this room from the cut-down trees recently cleared for the Future Library saplings.
Photo by Giorgia Polizzi
The Silent Room will be located on the top floor of the library – the floor that houses the library’s special collection of books and archives. The small, intimate room will be geared for one or two people; it will face the forest, awaiting the growth of the trees and providing a view of where, in essence, the books are developing. The other aspect of the texts–the unpublished manuscripts–will be contained here with only the authors’ names, the title of their work and the year visible to visiting patrons. Katie Paterson explained:
The atmosphere is key in our design, aiming to create a sense of quietude, peacefulness, a contemplative space which can allow the imagination to journey to the forest, the trees, the writing, the deep time, the invisible connections, the mystery.
As is the case with any long-term project, questions of trust dominate the design of Paterson’s Future Library. Planning a project with a timescale of 100 years provides many challenges, such as the consideration of tree types, native Norwegian pests, climate, or potential fires; communicating across time; ensuring access to a printing press (one will be stored in Oslo and workshops will be held for the next generations in printing and binding books); and crafting 100-year contracts with lawyers. How will the library room be looked at and experienced in a century? How will the materials react over the decades to come? What languages will people be speaking in 02114? What kind of technologies will exist? What will be the status of the printed book, the written word? Paterson asked herself 100-year-timespan questions such as these with every decision made for Future Library. It involves thinking and developing on a timespan that transcends most conventional artwork. Paterson explained:
The works like Future Library really slow the pace down, to over a century. There is still constant movement within the artwork; inviting authors, the library room design, trust meetings, forest tending, yearly events, the writing, even the tree rings forming. Future Library will evolve and live over ‘long time’ and over ‘now’ simultaneously…I like the idea that time is substance, that can be manipulated and invented. I certainly see time as non-linear – reaches of time, webs, loops, networks, holes – and visualize time growing and existing like a cell or a wave, expanding and contracting. Future Library is marked out by yearly demarcations and these ‘chapters’ keep it fluid.
Future Library was conceived by Paterson, is commissioned and supported by the Bjørvika Utvikling urban development project, and produced by the Bristol-based arts producer Situations. A Future Library Trust has been established to help sustain Future Library for its 100-year duration. It consists of seven members, including the literary director of the Man Booker Prize. Its members will change decade by decade, and they are the ones to invite the 100 authors, whose names will be announced year by year. The authors are being selected for their “outstanding contributions to literature or poetry and for their work’s ability to capture the imagination of this and future generation.”
Photo by Giorgia Polizzi
This month, award-winning author Margaret Atwood was named as the first contributor to the Future Library. The author of novels such as Daughters of the North and Oryx and Crake (both of which will be included in Long Now’s own Manual for Civilization) is in many ways ideally suited for a collection like Future Library: much of Atwood’s work explores human lives and lived experience in a variety of possible futures. As Paterson explains,
[Atwood] is incredibly perceptive, continually writing about prescient subjects and her work speaks across generations, across time. She writes about time and catapults her readers to a future time and place, projecting unsettling, strange, dystopian worlds. Her work has so much to say about us alive now and futures we are building as a species.
Atwood has already started writing the tale that only she will read during her lifetime.
When asked about the content of her story in an interview with the Louisiana Channel, Atwood stated that wild horses could not drag it out of her:
I think it takes us to that period of childhood when we used to bury things in secret locations and hope that somebody would come and dig them up. Or that other period when we put messages in bottles and put them into the ocean. But essentially that’s what writing is anyway, so publishing a book is like a message in the bottle and throwing it in the ocean because you never know who will read it. And writing and publishing a book is also like time travel because the book is a vehicle for the voice, and it doesn’t turn into a voice again until somebody at the other end reads it. So in this case, the filament between the launching of the book and the turning of the book back into voice just happens to be longer than usual.
On a cosmic timescale, a span of 100 years is fleeting and insignificant. “However, in many ways the human timescale of 100 years is more confronting,” Paterson explains. “It is beyond many of our current life spans, but close enough to come face to face with it, to comprehend and relativize.”
What can help us confront and comprehend this short-yet-long timespan is, perhaps, a sense of hope and optimism. The Future Library project, for its part, tries to encourage these perspectives. In her reply letter to her Future Library invitation, Atwood wrote, “This project, at least, believes the human race will still be around in a hundred years!” Paterson expands upon Atwood’s statement in her own words:
In its essence, Future Library is hopeful – it believes there will be a forest, a book, and a reader in 100 years. The choices of this generation will shape the centuries to come, perhaps in an unprecedented way. Inside the forest time stands still. This place could have existed for one hundred, one thousand, one million, or even one hundred million years. I take comfort in the natural processes that have unfolded over such enormous expanses of time. Imagining the plethora of living beings that have evolved in its ecosystem. The earth itself has a predicted lifespan of another few billion years, and there are millions of other planets and galaxies. Life in this universe will continue to exist.
About two years ago, we shared with you a set of enhanced photographs that visualized the transformation of World-War-II-era Leningrad into contemporary St. Petersburg.
We recently came across a similar photographic experiment in picturing historical change. The temporal lapse is similar: this interactive series compares 1940s images of European sites that played an important role in World War II history with their contemporary counterparts. There is no stitching together of old with new in these images; instead, your mouse performs the magic of time travel, revealing the new in place of the old as you drag it to the right.
Nevertheless, these photos have the same effect of making visible, even tangible, the radical transformations that a locale can undergo in the fleeting span of a half century – while simultaneously highlighting the endurance of its sense of place.
On Monday, October 20th, Larry Harvey speaks for Long Now on “Why The Man Keeps Burning,” as part of our monthly Seminars About Long-term Thinking. Each month the Seminar Primer gives you some background about the speaker, including links to learn even more.
Burning Man started with humble beginnings in 01986 with 20 people on a beach. Twenty-eight years later, it’s one of the premiere arts festival in the country, with over 66,000 people attending annually, dozens of satellite events, and a vibrant international community. In one sense, Burning Man is an event that only happens for one week per year in a remote desert in Nevada. In another sense, it’s a massive global phenomenon that supports thousands of artists, causes, and technologies.
What sets Burning Man apart from other large-scale festivals is its focus on participation. The organizers set up the infrastructure of “Black Rock City” (including roads, portapotties, ice, DMV, medical, post offices, etc.) and then attendees become the citizens and bring life to the desert through hundreds of art pieces, mutant vehicles, and theme camps. This personal investment of time, money and creativity by participants far exceeds what the the festival organizers could do if they were planning the Burning Man event in the traditional sense.
How does something as outrageous as a temporary city of art built in the middle of the desert come about? It all began on a small beach in San Francisco and an “event” organized by Larry Harvey and a group of his artist, prankster friends. In 01986 the first wooden figure they built was only 8-feet tall. The attendees were all members of the San Francisco Cacophony Society, a group of artists and mischief makers also associated with Santarchy, urban exploration, and Art Cars. The beach version of Burning Man became an annual event, but was subsequently shutdown by local authorities.
Harvey and others made the decision to relocate the event to the dramatic but inhospitable environment of the Black Rock Desert in Pershing Country, Nevada. This changed the scale of the event and opened up a world of possibilities for Burning Man to become the festival it is today. It has grown in size, budget, ambition, and notoriety virtually every year since moving to Nevada. Along the way it went legit, fully permitted and coordination with county governments and the Bureau of Land Management.
And through it all Larry Harvey has been a part of steering and scaling up this arts oasis in the desert. He serves as Burning Man’s Chief Philosophical Officer and authored the Ten Principles in 02004, guidelines which reflect “the community’s ethos and culture” and assure Burning Man a reference point as it grows in Black Rock and all over the world. Harvey continues also as founding Board Member of the Burning Man Art Project and Chairman of the Board of the Black Rock Arts Foundation.
There have been rough spots along the way, as the man has grown from eight to over 100 feet and a 20 person party on the beach has become 60,000+ paying hundreds of dollars per ticket. Over the years much has changed and many issues have stirred concern in the community that the festival could be destroyed by some new policy or other development: “Scaling up will kill Burning Man.” “That new rule will kill Burning Man.” “The Bureau of Land Management will kill Burning Man.” “Selling tickets that way will kill Burning Man.” “Board infighting will kill Burning Man.” “Upscale turnkey camps will kill Burning Man.”
It turns out none of these things killed Burning Man, and Burning Man shows few signs of slowing down. The Black Rock Arts Foundation (BRAF) gives hundreds of thousands of dollars in grants every year to Burning Man projects as well as public art projects in San Francisco and around the world. The “regional burns” have created strong communities globally based around smaller satellite festivals which take cues from the Ten Principles.
A few examples of the art that BRAF has helped make possible:
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.
Both projects were in the early planning phases at the time, but they took form four years later on New Year’s Eve 01999. The first working prototype of The Clock marked the turn of the year at the Presidio in San Francisco by bonging twice, while Longplayer started running on a computer at the 19th-century Lighthouse in Trinity Buoy Wharf at the same time on midnight Greenwich Mean Time of the year 2000.
In 02002, Jem Finer expanded the Longplayer with a Graphical Score that transformed its six-part source music into a composition for human performers. The result was Longplayer Live, a 1,000-minute slice of the millennial composition that debuted at London’s Roundhouse, and was presented by Long Now at the Yerba Buena Center for the Artsin San Francisco in 02010.
The next step in Longplayer Live’s evolution highlights this human role. The project is Longplayer for Voices, a choral adaptation of the Graphic Score. You can listen to an early test of a 1,000-second excerpt of the score for human voice in this video.
Over the next four years, Jem Finer, conductor Peter Broadbent, and composer Orlando Gough will work with a 240-person choir to develop a 1,000-minute version of Longplayer for Voices. While human voices will be needed for the performance, human generosity is needed to make the project a reality. The Kickstarter campaign will allow Longplayer for Voices to complete the score and recruit the choir in time for a performance at the Roundhouse in the fall of 02018. The Kickstarter campaign runs until August 15, 02014.