The Empty Horizon

From Aeon Magazine:

Pont-de-Normandie-bridge

The Pont de Normandie bridge over the Seine estuary. Photo by Jean Gaumy/Magnum

Marek Kohn is an author and journalist. His most recent book is Turned Out Nice: How the British Isles will Change as the World Heats Up.

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Make a model of the world in your mind. Populate it, starting with the people you know. Build it up and furnish it. Draw in the lines that connect it all together, and the ones that divide it. Then roll it into the future. As you go forward, things disappear. Within a century or so, you and all the people around you have gone. As things go that are certain to go, they leave empty spaces. So do the uncertainties: the things that may not be things in the future, or may take different forms — vehicles, homes, ways of communicating, nations — that from here can be no more than a shimmer on the horizon. As one thing after another disappears, the scene fades to white. If you want a vision, you’ll have to project it yourself.

Occasionally, people take steps to counter the emptying by making things that will endure into the distant future. At a Hindu monastery in Hawaii, the Iraivan Temple is being built to last 1,000 years, using special concrete construction techniques. Carmelite monks plan to build a gothic monastery in the Rocky Mountains of Wyoming that will stand equally long. Norway’s National Library is expected to preserve documents for a 1,000-year span. The Long Now Foundation dwarfs these ambitions by an order of magnitude with its project to build a clock, inside a Nevada mountain, that will work for 10,000 years. And underground waste disposal plans for the Olkiluoto nuclear power plant in Finland have been reviewed for the next 250,000 years; the spent fuel will be held in copper canisters promised to last for millions of years.

An empty horizon matters. How can you care about something you can’t imagine?

A project can also reach out to the distant future even if it doesn’t have a figure placed on its lifespan. How many blueprints for great works, such as Gaudí’s Sagrada Família cathedral in Barcelona, or Haussmann’s Paris boulevards, or even Bazalgette’s London sewers, were drawn with the distant future in the corner of the architect’s or the engineer’s eye? The value of longevity is widely taken for granted: the 1,000-year targets for the Iraivan Temple, the new Mount Carmel monastery and the National Library of Norway are declared with little explanation as to why that particular round number has been chosen.

Instead, they play to intuition. A 1,000-year span has an intuitive symmetry for nations such as Norway that have a millennium of history behind them: it alludes to the depth of the nation’s heritage while suggesting that the country has at least as much history yet to come. For spiritual institutions, 1,000 years is short enough to be credible — England, for example, is dotted with Norman churches approaching their millennium — and long enough to refer to a timescale that extends beyond normal human capacities, thus pointing to the divine and the eternal.

People don’t generally reach out to the distant future for the future’s sake. Often what they chiefly want to reach is a contemporary audience. Going to extreme lengths to prevent vestigial nuclear hazards the other side of the next ice age is a demonstration of capacity, commitment to safety, and attention to detail. If this is what we’re doing for the distant future, it says to an uneasy public, you can be absolutely sure that we’ve got every possible near-term risk covered, too.

At the ultimate extreme, the Voyager space probes are carrying samplers of human culture, on golden disks, out of the solar system and on into infinite space. The notional beneficiaries are life forms that are not known to exist, from planets not yet detected, at distances the probes will not reach for millions of years. But the real beneficiaries were the people who reflected on our species and its place in the universe as they assembled the records and their content. The golden disks were mirrors of the culture that made them.

Any project with a distant time-horizon can be explained away as an exercise that invokes the future in the pursuit of immediate goals. But even if such a project is all about us, that doesn’t mean it’s not about the future too. The Long Now Foundation is an attempt to cultivate a consciousness that expands the horizons of the present. (Its name emerged from Brian Eno’s observation that in New York what people meant by ‘now’ was markedly shorter than what people meant by it in Europe.) By expanding ‘now’ to multi-millennial proportions, it makes us part of the future, and the future part of us.

The Great Cathedrals of the Middle Ages ( and of course, The Great Pyramids millenia earlier ) fit into this category also. Whole families were employed for generations constructing these great pieces of archecture and art.

It has been proposed that future interstellar missions to Alpha Centauri, Gliese and Tau Ceti could be considered long-term multi-generation projects also ( barring invention of a warp drive ). Such projects could only happen if Earth like worlds are confirmed by advanced telescopes inspecting these stars in order to justify the expense of these missions.

Either way, future projects of this magnitude aren’t strangers to Mankind. Maybe the  horizon isn’t quite so empty?

The thousand-year stare

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