Category Archives: Blog

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Will Gillis on sf’s changing face

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I don’t know whether William Gillis wrote this little screed about the changing face of science fiction as a response or reaction to Jo Walton’s piece about the reading protocols of the genre, but it certainly serves as an interesting counterpoint to it. I like to read the viewpoints of smart readers coming from outside the loose tribe of fandom, because it enables us to see some of the stories we tell ourselves about the genre’s evolution in a different light:

… the modern age has given rise to a very distinguishable modern clique of SF authors interested in worlds with recognizable causal connections to our world. In a world deprived of anything more than an anemic NASA how we get there matters (or, alternatively, how it diverged). The other hallmark of the internet age is the density of the snarkiness, reference and speed of ideas — if Blade Runner signified the beginning of the shift away from abstraction with advertisements referencing real corporations, today’s authors plaster their prose with injokes. Rather than trying to abstract away, they embrace our inherent ties to the world as it is in order to milk a higher density out of our shared language. The internet has given everyone the sensation of having passing knowledge in every field, and modern SF authors are expected to be versed and deliver on many if not all fronts.

There simply isn’t the patience for limited-focus authors. And while I still heart Delany and Le Guin, I think this is a good thing. Nothing’s worse than sitting through a work full of intellectual spark on one front to find it dead on another. A great mathematics twist matched with a ridiculous carbon copy of the author’s culture transposed upon a ridiculously different environment. A finely constructed anthropological or psychological thesis with cliche and implausibly-portrayed tech.

Perhaps Gillis has hit upon the reason that the enthroned classics of the genre frequently fail to move new readers in the way they moved us when we discovered them… but having typed that out, it feels like a tautology. How about you – did the sf classics from before your time hold up to their reputations, or were they interesting in the way that archaeology is interesting?

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The auroch revival: bringing back the big beef

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It’s not often that we get to hear about people working on a scientific project previously instigated by Hitler and the Nazi Party of Germany… though this is thankfully a far more benign application of eugenic theory than the atrocities of the Second World War. Italian scientists are trying to recreate the auroch, an extinct breed of European mega-cattle, by selective “back breeding” and genetic analysis [via SlashDot; image courtesy Wikimedia Commons]:

“We were able to analyse auroch DNA from preserved bone material and create a rough map of its genome that should allow us to breed animals nearly identical to aurochs,” said team leader Donato Matassino, head of the Consortium for Experimental Biotechnology in Benevento, in the southern Campania region.

“We’ve already made our first round of crosses between three breeds native to Britain, Spain and Italy. Now we just have to wait and see how the calves turn out.”

The last animal disappeared from the British Isles in the Iron Age and the breed was declared extinct in 1627 after a female died in the forests of Poland.

Aurochs are depicted in ochre and charcoal in paintings found on the walls of cave galleries such as those at Lascaux in France and Altamira in Spain. Caesar described them in The Gallic Wars as being “a little below the elephant in size” and a favourite hunting prey for wild Germanic tribesmen.

Their abiding mystique means they remain as the symbol of several states and cities in Europe, having figured prominently in Teutonic folklore. In ancient times, killing an auroch was seen as a great demonstration of courage, with the horns turned into silver-clad drinking cups.

Exactly why we need to recreate a breed of cows with the size and temperament of a rhinocerous isn’t abundantly clear, and some researchers suggest that the back-breeding process will produce animals that, while they may look the part, are inevitably very different from the original aurochs at a genetic level. But then it probably won’t be more than a decade or so before we can reliably clone animals from archived DNA samples, Jurassic Park style.

Perhaps retro-engineered auroch hunting will become the European equivalent of the rich man’s African safari holiday? I’d be right behind that idea, on the proviso that the would-be hunters were obliged to use the weapons of the Middle Ages in their attempts to bag a trophy… 😉

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Interpreting facts as failure: the neuroscience of science

There’s a fascinating essay at Wired UK about a guy called Kevin Dunbar, who studies the science of science. The philosophy and theory of science – the seven-step method you had drilled into you at school, for instance – is very elegant, but it doesn’t reflect the way that real science gets done, and it doesn’t take into account our innate propensity to misinterpret anomalous results, so Dunbar went out and researched the way real researchers research. The results are an interesting mix of the obvious and the counterintuitive:

The reason we’re so resistant to anomalous information — the real reason researchers automatically assume that every unexpected result is a stupid mistake — is rooted in the way the human brain works. Over the past few decades, psychologists have dismantled the myth of objectivity. The fact is, we edit our reality, searching for evidence that confirms what we already believe. Although we pretend we’re empiricists — our views dictated by nothing but the facts — we’re actually blinkered when it comes to information that contradicts our theories. The problem with science, then, isn’t that most experiments fail — it’s that most failures are ignored.

Well worth a read, especially in light of the aspersions cast on science by the climate change debate. Individual scientists may make mistakes, but science as a system – as a communal project, as an evolving body of knowledge – turns those failures into new theories. [image by Horia Varlan]

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Amazon, ebooks and piracy – tipping points ahoy?

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Sticking with the piracy theme for a moment (yeah, I know, so out of character, right?), here’s an article at TechRadar that features an interview with one George Walkley, head of digital developments for publishers Hachette UK, talking about ways in which the publishing industry has tried to learn from the spectacular blunders and ostrich impressions of the music recording industry – the issue of file format compatibility, for instance. [image by Eirik Newth]

Says Gary Marshall the journalist:

Digital downloads weren’t cheaper than CDs, and for now at least ebooks probably won’t be cheaper than print. That’s partly because most of the costs apply whether you publish a book on paper or on an iPhone, and it’s partly because of tax: “printed matter” books are zero rated for VAT, whereas electronic ones have to charge the full 17.5%.

It’s a weird anomaly, and if we were in the book business we’d be lobbying Alistair Darling like crazy to get electronic books treated the same as printed ones.

The challenge for publishing is to avoid being seen as greedy. In music, the debate quickly became characterised as The Man versus The Kids, where The Man was Bono, his celebrity mates and their filthy rich record companies.

In reality, most musicians are struggling to pay the rent, but that’s not what the average file sharer thinks.

This is very true… as is the article’s revelation that the book-buyer demographic and the music pirate demographic are very very different. But as a side note, I’d point out that almost all musicians (and, I suspect, the vast majority of novelists) have been struggling to pay the rent for decades, and that the exceptions to that norm – the Bonos and McCartneys and Rowlings of the world – have been enthroned on their disproportionate mountains of cash by the same business models that are now collapsing under the pressure of filesharing.

I’d even go so far as to say that the business models in question have gone some distance toward ensuring that the smaller names in music and writing can’t make a reasonable living wage at it; if there’s [x] amount of money sloshing round in the economy that people are willing to spend on entertainment, then the way that money is divided up between the entertainers is controlled by the distribution and publicity systems of the industries that publish them.

The utopian promise of The Long Tail is that the more obscure artists will have a better chance of being discovered by readers or listeners who will enjoy (and hence purchase) their work, while the megastars will wane to a more modest brightness as the monopoly control their publishers had over the formerly-limited channels of publicity and sales frontage is eroded. Whether that utopia arrives or not remains to be seen; personally, I think we’re headed in that direction, but it will take hard work from the publishers to avoid creating the black-market demand that buried the big record labels. I want to see the artists I enjoy get paid, and I’m happy to pay them… but the price has to be right, as does the share that goes to the creator. Walkley is wise to this, it seems:

“Copyright infringement cannot be prevented altogether, only reduced,” he says. Speaking personally, he says he’d like to see action against the most egregious offenders – but he also says that the key is to give consumers what they want.

“One of the most important things we can do is to make the purchase of legitimate ebooks as easy and as convenient as possible and produce a broad range of titles in digital formats,” Walkley says. It’s a lesson that took the music industry more than a decade to learn.

Amen. And right on the tail of that article comes an announcement from Amazon, wherein they try to sweeten the deal on Kindle-based ebook pricing for publishers:

Amazon.com […] today announced details of a new program that will enable authors and publishers who use the Kindle Digital Text Platform (DTP) to earn a larger share of revenue from each Kindle book they sell. For each Kindle book sold, authors and publishers who choose the new 70 percent royalty option will receive 70 percent of list price, net of delivery costs. This new option will be in addition to and will not replace the existing DTP standard royalty option. This new 70 percent royalty option will become available on June 30, 2010.

Delivery costs will be based on file size and pricing will be $0.15/MB. At today’s median DTP file size of 368KB, delivery costs would be less than $0.06 per unit sold. This new program can thus enable authors and publishers to make more money on every sale. For example, on an $8.99 book an author would make $3.15 with the standard option, and $6.25 with the new 70 percent option.

It’s a generous offer, but it looks to me like Amazon wants to be the iTunes of books – which is an understandable business goal, certainly, but hinges on locking publishers and consumers alike into one proprietary and intrinsically limited hardware platform. I suspect that once Steve Jobs has delivered his next sermon to the Fapple faithful, and the much-vaunted Tablet paves the way for cheaper and more open equivalent hardware, the range of affordable and open devices upon which ebooks can be read comfortably will mushroom.

Will the publishers be ready with the right formats at the right price? Will the book-buying demographic be more willing to compromise than the BitTorrent kids? I guess we’ll just have to wait and see.

[ Full disclosure: I have done freelance work for Hachette UK, and George Walkley is an acquaintance of mine. ]

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The Product Bay – piracy goes 3D

Well, it was bound to happen – hell, Sven’s been writing columns that skirt around the idea for ages. Here’s the lowdown: 3D printing is maturing quickly, and 3D scanning isn’t far behind, meaning that material objects can be stored and transmitted as digital data. Digital data can be shared in many different ways, and – as the recording industry has learned the hard way – illicit filesharing is, for all intents and purposes, an unclosable Pandora’s box. So what’s to stop people trading, sharing and printing off copies of copyright-controlled objects – shoes, clothing, homeware, car parts, whatever?

The answer – nothing. Nothing at all. Welcome to The Product Bay:

RepRap and other 3D printers are the future. There’s no question about it. With the proud tradition from The Pirate Bay, we want to take all of this to the next level. TPB will be TPB, but for real life objects. For now, visit Thingiverse who already understands this.

We want you to download those new jeans.

We want you to share those new shoes.

It’s possible, let’s make it happen.

Granted, The Product Bay is just a one-page site with a provocative message, and I rather suspect it has been launched with the purpose of starting a conversation more than any real hope of kicking off the world’s first tracker site for digital files of real-world objects… but it’s also a harbinger of things to come, and the big-brand companies that aren’t scared by the idea should probably start planning for the worst. It’s not like there’s been no warning, after all. [via Fabbaloo]