Brian Eno and the Long Now in Second Life

Brian Eno's 77 Million paintings come to Second Life courtesy of the Long Now Foundation

Advance word comes to 3pointD that the Long Now Foundation (which has to be one of the coolest organizations on the face of the planet) will bring Brian Eno’s art installation, 77 Million Paintings, to the virtual world of Second Life at the end of June, concurrent with the show’s real-world opening. The virtual show is being built out by a startup metaverse services firm known as For those who don’t know it, the Long Now Foundation is developing the world’s slowest computer, which is meant to “do for thinking about time what the photographs of Earth from space have done for thinking about the environment.” As the site points out, “Such icons reframe the way people think.” The term “long now” was coined by Eno, who, for those who don’t know him, is one of the most influential contemporary musicians around, and also a Long Now board member. Eno has also been more closely involved with things metaversal of late, having hooked up with Will Wright some time back. (And if you don’t know who Will Wright is, you had really better start doing your homework.) No details yet of what the SL opening and build will feature, but if Eno is making an appearance it’s sure to be extra cool.


  1. epredator

    Finally a circle is complete, I really like the long now concepts, and the nature of slowness required for real things to survive.
    I wrote this a tear or so ago on an internal blog.

    In the fantastic book of papers “The Clock of the long now” available at all good online retailers named after a famous river Stewart Brand makes a great case for the various layers of operation in the world, from ones that are fast chnaging to ones that are slow

    Each layer has to respect the pace of the other, as the lower levels underpin and support the higher faster ones.

    Art is frothy, look at this etc. This relates to commerce, slower but fast moving, ideas sometimes sift down to the infrastructure and the governance, eventually becoming part of the culture.

    “One of the stresses of our time is the way commerce is being accelerated by global networks and digital technology.”

    All this has an effect on teh lower levels, the slower moving ones that underpin everthing. The remainder of the chapter examines what happens as the culture is eroded, its slower moving, and takes longer to heal, whilst the fashions and commerce layers move on.

    Its always seemed an interesting point of view to me, and seeing how cultural damage takes a very long while to heal, and how things can be wiped away with a stroke of a pen/keyboard is something to consider.

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