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The Big Here and the Long Now

This article explores the concept of the "Big Here" and the "Long Now," and how history can inform sustainability efforts. It discusses the Information Technology revolution, the end of equilibrium, and the Great Acceleration, emphasizing the need for long-term thinking. It also highlights the Millennium Clock, a symbolic representation of the milestones and challenges of the past millennium. Written by Libby Robin, this thought-provoking piece encourages the global imagination and a collective responsibility for the planet's future.

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The Big Here and the Long Now

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  1. The Big Hereand the Long Now History for Sustainability Libby Robin libby.robin@anu.edu.au Fenner School of Environment and Society Australian National University/ Centre for Historical Research, National Museum of Australia Image: Julie Kennett Table of the Long Now

  2. The global imagination The global imagination ‘Only One Earth’ View of Apollo 11 Space Mission 16 July 1969

  3. Since 1969… • Information Technology revolution • The end of equilibrium • the Great Acceleration

  4. Clock (above) and Orrery (below) of the Long Now http://www.longnow.org/

  5. Millennium ClockThe Millennium Clock Tower is over ten-metres tall, constructed in wood, metal and glass, containing fragments of the story of the millennium, with its disasters, tragedies and its human, scientific and artistic achievements. It is displayed at the Royal Museum of Scotland, Edinburgh in the shared space between the old museum and the new National Museum of Scotland. Clock makers EDUARD BERSUDSKY TIM STEAD ANNICA SANDSTRÖM JŰRGEN TŰRBBECKE TATIANA JAKOVSKAY MAGGY LENERT

  6. Julie Kennett, Artist’s Statement, 2007 Rather than rigidly fixing the boards of the table to each other, they are held together (and apart) by wooden butterfly joints that allow the individual planks to move independently as they expand and shrink over time. The joints are not glued, but rather held in place with the use of a lashing or binding system that… (offers) flexibility and sympathy to the wood material…

  7. Julie Kennett, Artist’s Statement, 2007 Lashes like these, working with butterfly joints ‘allow the wood to maintain its innate qualities and move with the natural forces working upon it’

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