Futurismic

…as we were, here is news of the first incursion into the collossal garbage patch that has collected in the Pacific Ocean:

Scientists surveyed plastic distribution and abundance, taking samples for analysis in the lab and assessing the impacts of debris on marine life.

Before this research, little was known about the size of the “garbage patch” and the threats it poses to marine life and the gyre’s biological environment.
…
On August 11th, the researchers encountered a large net entwined with plastic and various marine organisms; they also recovered several plastic bottles covered with ocean animals, including large barnacles.
…
“Finding so much plastic there was shocking,” said Goldstein. “How could there be this much plastic floating in a random patch of ocean–a thousand miles from land?”

This reminds me of the great junk armada depicted in Snow Crash by Neal Stephenson.

[via Physorg][image from Physorg]

News of carbon nanotube and indium nanowire-based supercapacitors that can be bent and twisted like a playing card:

It continues a line of prototype devices created at the USC Viterbi School of Engineering that can perform the electronic operations now usually handled by silicon chips using carbon nanotubes and metal nanowires set in indium oxide films, and can potentially do so at prices competitive with those of existing technologies.

…

Its creators believe the device points the way to further applications, such as flexible power supply components in “e-paper” displays and conformable products.

This sounds like the sort of development that could lead to something like The Young Lady’s Illustrated Primer of The Diamond Age by Neal Stephenson.

[from Physorg][image from Physorg]

It’s just like buses; you wait ages for a decent in-depth author interview, then two come along at once. Not that I’m complaining, mind you!

First up is a chat with Neal Stephenson on the Barnes & Noble website, which is mostly about Stephenson’s latest breezeblock novel Anathem, but contains other goodies too:

JM: You write with a fountain pen.

NS: Yes.

JM: Have you always done that?

NS: No. I started that with the Baroque Cycle. Cryptonomicon was the last thing I wrote with a word processor. What I was noticing was that I’ve become such a fast typist that I could slam out great big blocks of text quite rapidly — anything that came into my head, it would just dribble out of my fingers onto the screen. That includes bad stuff as well as good stuff. Once it’s out there on the screen, of course, you can edit it and you can fix the bad stuff, but it’s far better not to ever write down the bad stuff at all. With the fountain pen, which is a slower output device, the material stays in the buffer of your head for a longer period. So during that amount of time, you can fix it, you can make it better, you can even decide not to write it down at all — you can think better of writing it.

How many bad or boring blog posts would have been avoided if we all had to blog with fountain pens? Actually, no, don’t answer that…

Next up is Richard (K) Morgan, who provides what must be the longest article io9 have ever run, interview or otherwise. If you’ve read any of his fiction, you’ll probably be aware of the fact that Morgan has strong opinions regarding politics and governance and human nature, and there’s plenty of that sort of thing in between the more fiction-focussed material:

One of the great things about American culture is that it’s a great borrower. America sees something it likes and says, “Oh yeah, we’ll have that. How much money do you want to reproduce that for us?” Leone came in with what is a very Catholic vision of the American West. And was able to sell that template. In that sense the Western never looked back. And you see a similar second wave of revisionism with Unforgiven in 1992, and the same thing. What’s been taken apart is Leone’s mythology of these lightning fast guys with guns that can produce a Colt and shoot the pits off of an apple. And of course Unforgiven comes along and says no, no. There’s something very cleansing about that, about taking something that’s been mythologized and saying, “Let’s give this a wipedown and see what’s really underneath.” Part of the brief I gave myself [with The Steel Remains] was, let’s see if we can’t do a Sergio Leone on the Tolkien landscape.

Anyone in the Futurismic audience read Anathem yet, by the way? Or The Steel Remains? Both are still buried deep in my to-be-read pile, but they’re rising steadily…

[The Stephenson interview deserves a hat-tip to Big Dumb Object; in the interests of complete transparency I will point out that Richard Morgan is one of my clients.]