Blog Archive for the ‘Long Term Art’ Category

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Larry Harvey Seminar Primer

Posted on Monday, October 13th, 02014 by Andrew Warner
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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:

Raygun Gothic Rocketship photo by David Yu

The Raygun Gothic Rocketship in San Francisco by Five Ton Crane (5TC) photo by David Yu

Soma at Burning Man photo by Scott Hess

Flaming Lotus Girls’ Soma at Burning Man photo by Scott Hess

The Dandelion photo George Post

From Market Street Blooms by Karen Cusolito at UN Plaza, San Francisco photo by George Post

The Bottlecap Gazebo in Fernley, Nevada; photo courtesy of Jerry Mansker

The Bottlecap Gazebo by Max Poynton and Andrew Grinberg in Fernley, Nevada; photo courtesy of Jerry Mansker

Join us on Monday, October 20th at SFJAZZ Center as Larry Harvey, who has been there from the beginning to the present, tells the story of Burning Man and shows us how we can find long-term thinking in a reoccurring temporary city.

This Seminar is sold out, but there will be a walk-up line for released tickets.

 

Jem Finer’s Longplayer for Voices Launches a Kickstarter

Posted on Thursday, July 24th, 02014 by Chia Evers
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The Long Now Foundation’s relationship with the Longplayer Trust, which launched a Kickstarter campaign this week, is older than either organization. Nearly 20 years ago, in “The Big Here and the Long Now”, Brian Eno noted that:

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.

Two of his examples were Jem Finer’s “LongPlayer”—a 1,000-year musical composition commissioned by Artangel—and Danny Hillis’s Clock of the Long Now.

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.


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These performances, which ran in conjunction with the Long Conversation, were a natural outgrowth of one of the Longplayer’s primary concerns—how to sustain a composition that will long outlive its composer. Like The Clock of the Long Now, which was designed with human maintenance in mind, the Longplayer “is a social organism, depending on people—and the communication between people—for its continuation.”

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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.

 

World’s Oldest Comics: The Kanozero Petroglyphs

Posted on Monday, July 14th, 02014 by Chia Evers
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In Understanding Comics, which Stewart Brand described as “a seminal work at the level of Edward Tufte’s Envisioning Information,” Scott McCloud defined comics as “Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.” Using this definition, McCloud proposed several examples of the earliest known comic: the 11th-century CE Bayeaux Tapestry, which tells the story of William I’s conquest of England; the Codex Zouche-Nuttall, an illustrated 14th-century CE Mixtec manuscript that narrates the life of Lord Eight Deer Jaguar Claw; and Egyptian tomb paintings like the harvest scenes in the Tomb of Menna, or this example from the Tomb of Nakht.

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Older than all of these, though, are the Kanozero Petroglyphs in northwestern Russia, which were carved between 5,000 and 6,000 years ago. On an expedition in 02012, Jan Magne Gjerde and his colleagues from Tromsø University Museum peeled layers of sod from the ancient stones, revealing images of boats, moose, beavers, and harpoons.

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One series of images depicted a solitary hunter on skis, tracking a bear uphill. According to Past Horizons, “The ski tracks are just as one would expect for someone going up a slope with a good distance between the strides. The hunter then gets his feet together, skis down a slope, stops, removes his skis, takes four steps – and plunges his spear into the bear.” Describing the find, Gjerde said, “This is the oldest example of a cartoon petroglyph we know of, at least in Northern Europe, so it was utterly thrilling to get the chance to be part of this discovery.”

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In their ten days at the site, Gjerde and his team colored the petroglyphs with chalk, covered them with plastic sheeting, then traced their outlines onto the plastic with felt-tip pen. Although it was a cumbersome procedure—especially when unexpected rainstorms drenched the plastic sheets—it produced a portable record of the carvings that could be taken back to the museum and studied at length.

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As Gjerde noted, the petroglyphs add a layer of understanding to the archaeological record at this site. “We can excavate a settlement or find arrowheads but we usually don’t have direct evidence of what sort of animals have been hunted with such weapons.” At Lake Kanozero, the comics carved into the rock not only show what animals the ancient residents of the area hunted, but also how they hunted them. As Gjerde put it, “These people, at this spot, documented part of their lives and I was fortunate to be one of the first people in 5,000 years to see it.”

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Multi-Millennial Portraits: The Deep Time Photography and Writing of Rachel Sussman

Posted on Wednesday, June 4th, 02014 by Catherine Borgeson
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The oldest living things in the world are a record and celebration of the past, a call to action in the present, and a barometer of our future, writes artist and SALT speaker Rachel Sussman in The Oldest Living Things in the World.

When Rachel spoke for Long Now in 02010 her book on organisms that have lived 2 millennia or more was only partially complete. Four years later The Oldest Living Things in the World is published and on the New York Times Best Seller list.

And as we prepare to welcome her back to San Francisco this month, we thought we’d take a closer look and a deeper read of this remarkable book.

Over the past decade, Sussman has been searching the planet to photograph continuously living organisms that are 2,000 years or older. She begins at year “0” and travels backwards from there, capturing millennia of living past in a fraction of a second. She writes in her book:

These ancient survivors have weathered the millennia on every continent, in some of the world’s most extreme environments, enduring ice ages, geologic shifts, and humans’ spread across the planet. Many are so small that you could walk right over them, none the wiser. Others are so large that you can’t help but stand in awe before them. I’ve photographed thirty different species, ranging from lichens in Greenland that grow only one centimeter every hundred years, to unique desert shrubs in Africa and South America, a predatory fungus in Oregon, brain coral in the Caribbean and an 80,000-year-old colony of aspen in Utah. I journeyed to Antarctica for 5,500-year-old moss, and to Tasmania for a 43,600-year-old clonal shrub that is the last individual of its kind, rendering it simultaneously critically endangered and theoretically immortal.

Sussman’s project also explains what it means to be in the year 02014 and the temporal tension that comes with photographing Deep Time. She uses the analogy of being in deep water–just like deep water, it is a battle to stay in Deep Time:

“It’s difficult to stay in Deep Time – we are constantly drawn back to the surface. This vast timescale is held in tension with the shallow time inherent to photography. What does it mean to capture a multi-millennial lifespan in 1/60th of a second? Or for that matter, to be an organism in my 30s bearing witness to organisms that precede human history and will hopefully survive us well into future generations?”

This 5,500-year-old moss bank lives right around the corner from where the Shackleton Expedition was marooned 100 years ago on Elephant Island, Antarctica. It was a victory simply being able to locate it. These days it’s easier to get to Antarctica from space. (Rachel Sussman via Time)

She has long been interested in the relationship between humanity and nature and expressed that through making landscapes. Contrary to what the book title may suggest, Sussman does not look at her subjects as “things” but over time came to see them as individuals. Instead of focusing on the aesthetics or the composition of landscape photography, she found herself creating portraits of these individuals. Her task became to capture their essence and spirit in order to better connect with them and through them to connect with Deep Time:

I approach my subjects as individuals of whom I’m making portraits. There’s a way to anthropomorphize the experience of these ancient organisms that have bore witness to millennia, which is something that is so outside of our human understanding of what a life span is–it is so outside of our temporal comfort zone.

This 9,950-year-old tree is like a portrait of climate change. The mass of branches near the ground grew the same way for roughly 9,500 years, but the new, spindly trunk in the center is only 50 or so years old, caused by warming at the top of this mountain plateau in Western Sweden. (Rachel Sussman via Time)

The end result of Sussman’s 10-year project is an archive; one that is part art and part science. Her book contains 120+ photos of the thirty subjects. Accompanying the photographs, Sussman writes of her personal journeys searching for these ancient organisms with insights from scientists who research each of them. Her essays weave together scientific explanations with artistic portraits, and invite the reader to understand and partake in her experience. The multiple layers of her work interconnect to help conceptualize the experience of being alive for thousands of years.

Lichens in Greenland that grow only one centimeter every hundred years.

Sussman writes about her experience photographing The Senator, a now-deceased Bald Cypress whose 3,500-year life was ended by a man-caused fire. In another adventure she had overcome her fear of deep water and learn to scuba dive (while injured) in order to photograph the 2,000-year-old Brain Coral, the first member of the animal kingdom she encountered to surpass the two-thousand year mark.

The Siberian Actinobacteria (pictured above) is believed to be the oldest continuously living thing, dating somewhere between 400,000 and 600,000 years old. It lives underground in the permafrost where the colony was found by planetary biologists who were looking for clues to life on other planets by investigating one of the most inhospitable places on Earth.

Over the course of their investigation, they found that these remarkable bacteria are actually doing DNA repair at temperatures below freezing, meaning that they are not dormant; they have been alive and slowly growing for half a million years.

This puts the life of a 5,000-year-old Bristlecone Pine into perspective, which is also featured in her book as the “oldest unitarian organisms.”

Sussman’s approach evolved as her work spanned multiple years, disciplines, continents and personal struggles.

I don’t think it would be the same if I had just used a checklist and went around the world and was done in a year. There is something about over the years wanting to do justice to this work. I realized I needed to keep myself in the story and to be vulnerable. It’s not an overly personal story but just that I’m a character in it. People need to have an entry point where they can connect. That’s really the point of looking at these organisms as individuals. But also the window is partially being pulled open by me as a person who is trying to communicate something that I’ve experienced, or learned, or some philosophical musing, or just how hard it was. I think it’s a way to remind people that nature and this idea of Deep Time are not so distant from our everyday lives. All of these things are intertwined and you bounce back and forth between the here-and-now and long-term thinking. The longer I’ve spent thinking about Deep Time and these old organisms, I find it now easier to connect with that.

Artist Rachel Sussman (photo by Victor G. Jeffreys II)

Long Now is proud to bring Rachel back to San Francisco for two very special events: on June 12th, 02014 with fellow photographer Mario Del Curto discussing photography and the natural world at swissnex. And then on June 13th Rachel appears at The Interval, Long Now’s new venue at Fort Mason, to talk about the book and her experience creating it.

We hope you’ll join us for one or both of these opportunities to see Rachel Sussman in person and hear more about her remarkable work.

Retrocomputing Brings Warhol’s Lost Digital Art Back to Life

Posted on Friday, May 16th, 02014 by Catherine Borgeson
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In 01985, Andy Warhol used an Amiga 1000 personal computer and the GraphiCraft software to create a series of digital works. Warhol’s early computer artworks are now viewable after 30 years of dormancy.

Commodore International commissioned Warhol to appear at the product launch and produce a few public pieces showing off the Amiga’s multimedia capabilities. According to the report, “Warhol’s presence was intended to convey the message that this was a highly sophisticated yet accessible machine that acted as a tool for creativity.”

In addition to creating a series of public pieces, Warhol made digital works on his own time. He was given a variety of pre-release hardware and software. This led him to eventually experiment with digital photography and videography, edit animation and compose digital audio pieces. The Studio for Creative Inquiry’s report states:

All of this (digital photography, video capturing, animation editing, and audio composition) had been done to limited extents earlier, but Warhol was an incredibly early adopter in this arena and may be the first major artist to explore many of these mediums of computer art. He almost certainly was the earliest (if not the only, given several pre-release statues) possessor of some of this hardware and software and, given their steep later sale prices, possibly the only person to have such a collection.

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Decades later, artist Cory Arcangel learned of Warhol’s Amiga experiments from a YouTube clip showing Warhol at the launch altering a photo of Deborah Harry by using what nowadays would be considered basic digital art tools, such as flood fills. (shown in the above video). This scene set in motion what would become a 3-year-long quest of technological feats and multidisciplinary collaboration to recover and catalog the previously-unknown Warhol artworks living in degrading 30-year-old Amiga floppy disks.

According to the contract with Commodore, Warhol owned the rights to any hardware given to him and all the work he created with the machines. After his death, his files and machines were stashed away and unpublished in the archives at the Warhol Museum. The collection contained two Amiga 1000 computers, one of which was never used, parts of a video capturing hardware setup, a drawing tablet, and an assortment of floppy disks of mostly commercial software in their original boxes:

It was immediately clear that this was an exciting window into history given that several pieces of Amiga hardware had shipping labels directly from Commodore, others had internal Commodore labels warning that the components were not yet for sale lacking FCC approval, and that the drawing tablet appeared hand-made.

 Amiga computer equipment used by Andy Warhol. Photo: Andy Warhol Museum

In December 02011, Arcangel approached the Warhol Museum with the proposal of restoring the Amiga hardware and archive the contents of associated disks. In April 02012, he teamed up with the Carnegie Mellon Computer Club, a team of experts in obsolete computer maintenance and software preservation, to retrocompute and forensically extract data from the roughly 40 Amiga disks. 10 of those disks were found to contain a total of at least 13 graphic files they think to be created or altered by Warhol.

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Cory Arcangel (Center), and CMU Computer Club members Michael Dille (Left), Keith A. Bare (Right) during the data recovery process at The Andy Warhol Museum. Photo: Hillman Photography Initiative, CMOA.

With a lot of hacking, sleuthing and extensive Amiga knowledge, the CMU Computer Club figured out how to examine the contents on Warhol’s disks. In a simplified explanation, it boils down to a two-tier process–first creating copies of the disks in a standard filesystem-level disk image and then looking through those files to see if any were in known graphic formats. Some were, some weren’t. It took months of retrocomputing the GraphiCraft software to convert the unknown graphic formats into a file that could be opened today.

To extract data and generate an archival dump, the Computer Club used a USB device called KryoFlux. This device attaches a floppy drive to the modern day PC and reads and writes standard-format floppy disks. But its real advantage is its ability to capture a very low-level picture of the disks. The KryoFlux created raw dumps as close as possible to the original floppies and standard filesystem disk images (ADF files). These ADF files work with Amiga emulators. Using the KryoFlux also allowed for better handling of degrading and fragile disks (many had magnetic materials coming off the substrate) and it generated standard ADF files for floppy disks containing non-standard encodings or copy-protection schemes.

The following day after making copies of Warhol’s disks, the disk images were loaded in the Amiga emulator in the basement of CMU Computer Club member Michael Dille. The disk hand-labeled “GraphiCraft” contained files with names like “flower.pic,” “campbells.pic” and “marilyn1.pic,” a clear sign that something was on that disk. The .pic files were unrecognizable by modern software and would later require the club’s resident Amiga expert Keith Bare to do deeper hacking and reverse computer engineering in order to crack the GraphiCraft format.  But on that day, two files on the same disk named “tut” and “venus” were in a common format used on Amigas, “Interchange File Format” (IFF). These two files were readable by using the software ImageMagick to convert the .iff files to PNG–a format modern software can understand. On the evening of March 2, 02013, Warhol’s Venus displayed on the screen for the first time in 30 years.

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Warhol’s digital works are proof that the Amiga 1000 was highly impressive for its time. The first of the Amigas, it already had better sound and graphics abilities than its competitors. It had a 4-channel stereo and up to 4,096 colors and 640×200 pixels. In comparison, PCs had “beepers” and up to 16 colors, while Macintoshes had 22.5kHz mono audio and monochrome displays (Studio for Creative Inquiry’s report).

These recovered images give insight to the workflow and capabilities of early computer art. In the above photo, Warhol used clip art to create the three identical eyes on Venus. The digital reinterpretation of Warhol’s Campbell’s Soup, pictured below, was modified with a line tool. It shows Warhol’s willingness to experiment and adapt to a new medium.

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Earlier this week, the Carnegie Museum of Art released Trapped, the second of a five-part documentary series by the Hillman Photography Initiative to “investigate the world of images that are guarded, stashed away, barely recognizable or simply forgotten.” The short documentary gives a detailed look at the techno-archaeologists’ process of decoding the obsolete file types. (Minute 8:47 shows the copying of Warhol’s disks.)

The forensic effort and process of studying the disks contents sheds light to the impermanent nature of digital material and the need for digital preservation. “In a way, a lot of the data and things we work with almost seem like it’s imaginary,” explained Bare in Trapped, “It’s electrons in a machine. You can turn it into photons if you use a display, but in some sense it’s almost like it’s not even there.”

Watermark: New Film by Edward Burtynsky

Posted on Monday, April 14th, 02014 by Charlotte Hajer
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Every living thing requires water. We humans interact with it in a myriad of ways, numerous times a day. But how often do we consider the complexity of that interaction?

Renowned photographer and former SALT speaker Edward Burtynsky explores these questions in a new film. Co-directed by Burtynsky and filmmaker Jennifer Baichwal,

Watermark is a feature documentary film that brings together diverse stories from around the globe about our relationship with water: how we are drawn to it, what we learn from it, how we use it and the consequences of that use. … Shot in stunning 5K ultra high-definition video and full of soaring aerial perspectives, this film shows water as a terraforming element and the scale of its reach, as well as the magnitude of our need and use. This is balanced by forays into the particular: a haunting memory of a stolen river, a mysterious figure roaming ancient rice terraces, the crucial data hidden in a million year old piece of ice, a pilgrim’s private ritual among thousands of others at the water’s edge.

The film is part of Burtynsky’s larger Water project, which also includes a book and an exhibition of dramatic large-format photographs. Watermark will be playing at theaters throughout the United States this month and the next; you can find a list of screenings here.

In San Francisco, Watermark will be screened at the Opera Plaza Theater  for one week, starting this Friday, April 18. Come see the film on opening day for a chance to hear Burtynsky speak about the film: he will attend the 4.30 PM and 7.00 PM shows in person for a post-screening Q&A with the audience.

More information about the Water Project book can be found here, and the accompanying photographs will be on exhibit at the Rena Bransten Gallery in San Francisco through the end of the month.

 

Jem Finer Performs at the Exploratorium

Posted on Tuesday, April 1st, 02014 by Charlotte Hajer
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Jem Finer, composer of the 1,000 year long composition Longplayer and a founding member of the band The Pogues, will be performing at the Exploratorium on Thursday, April 10, 02014. The event will be the fourth installment of Resonance, a new music series that explores “distant realms of musical possibility.” The Exploratorium describes the upcoming performance as follows:

The evening will feature a conversation with Finer and host Sarah Cahill and performances of “Original Soundtrack #5″ and “Starfield.”  Finer’s “Original Soundtrack #5″ is an inversion of the usual supporting role of the soundtrack. Finer gathered sound using a video camera, then draws upon this raw material to compose improvisational films whose visual component is a byproduct of these sound juxtapositions. The Exploratorium performance of “Original Soundtrack #5″ will also include new material recorded in San Francisco. In addition, Finer will perform “Starfield.” Each star shines with a unique spectrum of light frequencies. By translating these into sound, Finer generated the raw material for this celestial composition.

The event will be held at the Exploratorium’s Kanbar Forum, which features a Meyer sound system – similar to the one Long Now will have at The Interval. This performance is part of the After Dark series; tickets to Resonance can be purchased here and include admission to the main After Dark event after the performance is over. Seating in the Kanbar Forum is limited and on a first come first serve basis, so it is recommended to arrive before the show time of 7:00pm.

Previous performances can be viewed on the Resonance website; you can expect to see Jem Finer’s added here in a few weeks.

Long Now hosted a performance of Longplayer and a Long Conversation event in 02010 in San Francisco. Audio of Jem Finer’s conversation with Stewart Brand from that event is in our Seminar section (video available for members).

Edward Burtynsky: The 10,000-year Gallery – A Seminar Flashback

Posted on Wednesday, March 19th, 02014 by Mikl Em
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In October 02008 Edward Burtynsky spoke for Long Now on The 10,000-year Gallery. Burtynsky, an internationally-recognized photographer, presented his ideas for a gallery of images to accompany the Clock of the Long Now.

Twice a month we highlight a Seminar About Long-term Thinking (SALT) from our archives. Long Now members can watch this Seminar video here, and this talk is even better with the visuals.

SALT audio is free for everyone on our Seminar pages and via podcast. Long Now members can see all Seminar videos in HD. Video of the 12 most recent Seminars is also free for all to view.

Burtynsky’s The 10,000-year Gallery talk includes a formal proposal for a permanent art gallery in the chamber that encloses the 10,000-year Clock as well as the results of his research into methods of capturing images that might have the best chance to survive in the long-term.

Photographer Edward Burtynsky

From Stewart Brand’s summary of this Seminar (in full here):

On the stage Burtynsky showed a large carbon transfer print of one of his ultra-high resolution photographs. The color and detail were perfect. Accelerated studies show that the print could hang in someone’s living room for 500 years and show no loss of quality. Kept in the Clock’s mountain in archival conditions it would remain unchanged for 10,000 years. He said that making one print takes five days of work, costs $2,000, and only ten artisans in the world have the skill, at locations in Toronto, Seattle, and Cornwall.

Edward Burtynsky‘s photographs are collected in museums all over the world. He is known for his large-format photographs of industrial landscapes which include mining locations around the globe and the building of Three Gorges Dam in China. His work has been noted for beautiful images which are often at odds with their subject’s negative environmental impacts. In recent years his work has focused on water including oil spills around the world.

The Seminars About Long-term Thinking series began in 02003 and is presented each month live in San Francisco. The series is curated and hosted by Long Now’s President Stewart Brand. Seminar audio is available to all via podcast.

Long Now members can watch the full video of this Seminar here—you must be logged in to the site. Membership levels start at $8/month and include lots of benefits. Join Long Now today.

Long Now on xkcd

Posted on Monday, March 10th, 02014 by Andrew Warner
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If our current civilization lasts another 8,000 years, it's probably fair to assume the Long Now Foundation got things right, and at some point we started listening to them and switched to five-digit years.


Today’s xkcd comic features a reference to the Long Now’s dating system in the “secret” mouseover text (hover over the image to read). Those that wish to be early adopters and start using 10k compliant dates now, please refer to our recent post on how to configure your computer’s date interface.

For those that follow the comic, you may remember the reference to the far future in the xkcd comic “Time”.

For those that don’t follow the comic: you’re welcome.

This comic is licensed under a Creative Commons Attribution-NonCommercial 2.5 license, please refer to xkcd’s licensing guidelines if you wish to use this content.

Laura Welcher Speaks at Contemporary Jewish Museum This Sunday

Posted on Thursday, February 13th, 02014 by Charlotte Hajer
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How do public archives, as collections of cultural artifacts, shape our collective memory? And how is this changing as new digital tools make it ever easier for scholars and artists to access these repositories?

This Sunday, Long Now’s Laura Welcher joins a group of archivists and artists to discuss these questions and more at the Contemporary Jewish Museum in San Francisco. Entitled Finders and Keepers: Archives in the Digital Age, the panel discussion accompanies an exhibit by Chicago-based photographer Jason Lazarus, who creates collaborative installations with pictures and texts submitted by others.

The panel discussion starts this Sunday, February 16th, at 3 PM; the event is free with museum admission.