History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression of cultural identity and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling.

危机时期的历史是切合实际的：未来的行动取决于历史框架。超越“人类尺度”以包括进化论和地质学，超越人类以包括其他物种，则需要不同的方法和像冰芯一样的新“档案”。本文考虑了“漫长的现在”中的历史，尤其是博物馆和大型公共艺术机构如何通过实际的故事讲述来发展新的历史，并认真地考虑了“博物馆的中心作用既是文化身份的体现又是文化身份的体现”这一观念。 ……是人类发展和教育的强大力量。” 博物馆具有“慢速传播媒介”的特殊价值，可以在瞬息万变的时代加深新闻报道。人类已成为地质力量的地球新纪元的人类世，对展览提出了挑战，同时也重塑了博物馆本身。在人类世时期管理故事，收藏品和物品的关键是能够改变路线，保持开放状态，以表演，活动和“弹出式”展览以及传统博物馆的产品向新发展开放。新博物馆学将故事视为博物馆的基本单位。因此，故事的策划是核心工作。博物馆不再仅仅由对象来定义：艺术和短暂的故事都是讲故事的一部分。