A while back we had a brief look at the possibility of simply excising mosquitoes from the ecosystems in which they are most problematic, but now an Australian scientist is trying a different tack in order to curtail the spreading range of the dengue fever virus: mosquitoes infected with a particular bacterium are less able to host the dengue virus and live only half as long, so introducing them into dengue zones should see them rapidly out-compete the dengue carriers. Sounds a lot less drastic than trying for wholesale eradication of a species…
What we know and what we assume: Schneier on Stuxnet
Bruce Schneier has a good round-up of the hard facts about the Stuxnet worm (as mentioned previously), as well as an examination of how those hard facts – combined with a few very speculative conspiracy-theory-grade interpretations of some of the more cryptic and tiny facts – have led to the current state of the story in mainstream (i.e. non-techie) media, namely “it was probably an Israeli job”.
Best I can tell, this rumor was started by Ralph Langner, a security researcher from Germany. He labeled his theory “highly speculative,” and based it primarily on the facts that Iran had an usually high number of infections (the rumor that it had the most infections of any country seems not to be true), that the Bushehr nuclear plant is a juicy target, and that some of the other countries with high infection rates–India, Indonesia, and Pakistan–are countries where the same Russian contractor involved in Bushehr is also involved. This rumor moved into the computer press and then into the mainstream press, where it became the accepted story, without any of the original caveats.
Once a theory takes hold, though, it’s easy to find more evidence. The word “myrtus” appears in the worm: an artifact that the compiler left, possibly by accident. That’s the myrtle plant. Of course, that doesn’t mean that druids wrote Stuxnet. According to the story, it refers to Queen Esther, also known as Hadassah; she saved the Persian Jews from genocide in the 4th century B.C. “Hadassah” means “myrtle” in Hebrew.
Stuxnet also sets a registry value of “19790509” to alert new copies of Stuxnet that the computer has already been infected. It’s rather obviously a date, but instead of looking at the gazillion things–large and small–that happened on that the date, the story insists it refers to the date Persian Jew Habib Elghanain was executed in Tehran for spying for Israel.
Sure, these markers could point to Israel as the author. On the other hand, Stuxnet’s authors were uncommonly thorough about not leaving clues in their code; the markers could have been deliberately planted by someone who wanted to frame Israel. Or they could have been deliberately planted by Israel, who wanted us to think they were planted by someone who wanted to frame Israel. Once you start walking down this road, it’s impossible to know when to stop.
Are those mysterious little comments in the code the flourished signatures of master cyberwar artistes? Or a frame-job packed with credible deniability? Or an elaborate double (or triple) bluff? Truth of the matter is, we’re all just guessing. They say that life sometimes imitates art; this is a case of life imitating The Illuminatus! Trilogy, only without so many puns or sex scenes. We all have a story we want to map on to the world, and it only takes a few pins to tack it down in a way that seems to explain everything…
[ * For the record, my instinct tells me – with admittedly very little professional knowledge to back it up – that Stuxnet stinks of nation-state vs. nation-state, and I get the impression Schneier thinks so too. His point is about how we treat speculative interpretations as givens when they match up with the way we already think things work… confirmation bias, in other words. ]
Charlie Stross on the economic naivete of science fiction
The Strossmeister crops up in a brief interview at New Scientist*, and says the following:
Science fiction has traditionally been economically naive, with a strong libertarian streak which I think is like a crude Leninism. That’s attractive because it could be used to explain everything, and if only we lived by its tenets, everything would be perfect. Except that we have to assume perfectly uniform and spherical humans of a fixed density for it to work. Humans are complex and if you show them a system, a subset of them will try to game the system for their own benefits. I’ve seen a joking case made that Star Trek‘s Federation is propaganda from a communist dictatorship; they have no money and have replicators to provide everything. But behind the gleaming shiny space ships is a howling vacuum of no explanation.
I think we’re starting to see a move away from that situation, at least in (some) written sf – Stross himself, plus Doctorow, Ken MacLeod, Karl Schroeder, Bruce Sterling and others, they’re all trying to engage those economic realities and make them part of the story. Problem is that economics is an inherently politicised subject, so one reader’s engagement with reality will be another reader’s naive socialist utopia (or libertarian paradise, or, or, or…). You can’t please all the people all the time, after all… and I rather suspect it’s that underlying naive utopianism of Trek that has leant it such lasting appeal.
[ * OK, so it’s a very brief interview, but even so, was “SF author: I am a spaceman” the best pull-quote the NS sub-ed could come up with? Really? ]
Heavy metal spec fic
Every now and again, my two great loves – loud guitar music and speculative fiction – collide in interesting ways. Witness io9’s piece on the latest album by Texan retro-metallers The Sword, which is a concept album of the old school, based on an unpublished story written by frontman J D Cronise. (The Sword, incidentally, are a superb live act; if you’ve any love for heavy metal whatsoever, be sure to go see them play if you get the chance.)
Science fiction and rock music have always been connected to some degree, but in my experience people tend to assume that their explicit linkage died off around the same time as the dinosaurs of the original Seventies progressive movement. (The heavier types of metal, largely due to the formative work of the mighty Black Sabbath, have tended to cleave to imagery that is more easily classified as horror or “dark fantasy”… always assuming that one can come to any sort of universally-agreeable definition of what either of those terms actually mean.) As mentioned a while ago, Jason Heller had a great essay at Clarkesworld that considered a whole batch of rock albums as science fiction texts, and it neatly puts the lie to the notion of an epoch of disconnection between the two spheres (though I’d argue that Heller ventures way outside the confines of what I’d define as “rock”, though that’s far less a judgement of value than one of aesthetics on my part.)
And out in the musical hinterlands, science fiction and rock music are still finding ways to connect to each other – something I’m fortunate enough to be well-placed to observe in my capacity as an independent reviewer of (often extremely) marginal musics. For example, only a few days back I was listening to a band called Constants, whose final song on their second album was entitled “The Three Stigmata of Palmer Eldritch” (PKD titles are one of the most consistent reference points for modern bands, in my experience).
Then there’s the mighty Clutch, whose bluesy roadhouse-rawk references sf ideas and texts with almost frivolous abandon when the mood takes them (try “Escape From The Prison Planet“, or “The Rapture of Riddley Walker“, if you can cope with the horrible bandwidth and quality of live footage on YouTube). And I never tire of extolling the virtues of Manchester’s very own Amplifier, who have the rare knack of catching the epic scale and sensawunda of space opera in their sprawling and slightly proggy compositions – in fact, when I guested at Philip Palmer’s blog a while ago, I plucked out their majestic “UFOs” for appreciation by a wider audience. Go have a listen.
Music, after all, is another form of storytelling (and arguably a much older one than the novel and short story), so it should come as no surprise that the ideas and imagery of science fiction appear there, too. What sf-nal musics are lurking on your Generic Digital Music Playback Device, rock or otherwise? Call ’em out in the comments; maybe we’ll all find something fresh to listen to. 🙂
Speculative direct democracy: the cybernetic tax-allocation feedback loop
Here’s a really interesting thought-experiment from Adam Rothstein, riffing off the no-fee-no-fire-brigade story and the receipt-for-your-taxes idea. I’ll let him explain rather than attempt to paraphrase:
What if after seeing this receipt, taxpayers were allowed to shift where their taxes went? Say, less Pell grants, and more to the war in Afghanistan, if that was their priority. Or less war, and more highways. Of course this would affect their service. The service only gets what the individual public thinks it deserves from their contribution to the tax coffers. It would be easier to go all Henry Thoreau on a war a hemisphere away then it would on, say, your local fire service, because there are fewer people contributing to your local fire bureau than paying national taxes, and you’d see the effect of the latter right away, the former only later. But hey, open it up. Let people pay their share of what they think it important. Let’s think about what would happen, if people could actually control where the money was going.
Other than finally letting individuals control their tax dollars, what this would eventually create is a massive, cybernetic feedback loop. Let’s say you opened up a website with UI controls, so you could adjust your proportional tax payment anytime you wanted, adjustable down to hourly segments of your fiscal year total. (I am assuming you must still pay your full total, you can just allocate the percentages. Otherwise, everyone would obviously opt to pay nothing at all.) And this site updates. So after it first launches, we see (and I am just guessing here) payment for education and arts decrease, and military spending increases. After a few hours of people allocating their own taxes, education and arts are almost at zero. But then what happens as people see these changes? Maybe someone who originally allocated 75% military/25% education, on seeing education spending slide nationally to nothing, decides to allocate 100% education to make up for the difference. How many people do this? Enough to counter the childless militants? What sort of equilibrium is reached? Is an equilibrium reached?
Now imagine, after they open up the API of this system (naturally), third-party algorithms are introduced. Want to help the budget reach 25% for education nationally? Install this add-on, and it will auto-adjust you and everyone else using the add-on in a unified front to make this goal a reality (while protecting your personal data, of course). Or maybe you set it to automatically devote up to 100% of your individual taxes to education, unless highways dip below 5%, and then it re-figures your totals according to your preference. Or, download the Democratic Party algorithm, which will automatically adjust your percentages to match the national tax distribution platform of the party. Download the Support our Troops algorithm, which helps the Veterans and Military budgets maintain a certain consistent ratio to the overall budget depending on how many troops are currently on active duty. Pledge to Support the Dollar, by downloading the FOMC algorithm that will adjust internal infrastructure spending and national debt spending in such a way as to drive the strength of the dollar world-wide. How about an algorithm that scans the news for stories of political scandal, reducing the money allocated to congressional salaries every time there is another ethics violation? Too many fires in your district last month? The Google Map Fire Layer-aware algorithm will automatically up your fire services percentage by an appropriate amount.
Now what would be REALLY REALLY interesting: what sort of equilibrium is achieved, and how far off is it the current balance as it now, without this sci-fi direct democracy scheme? After all the algorithms are factored in, and all the feedback to the results of the algorithms are calculated and re-factored… are we actually any different than where we are now? Is our national desired budget, summed from all the diverse opinion about where we ought to be spending money, really any different from reality? If we let one person tweak the budget, they’d do all sorts of different things. But if everyone’s opinion and rate of pay were weighted together, I’d say it’s a fair bet that we’d end up exactly where we are.
[…]
Is it possible that as bankrupt and backwards as our democracy is, that it actually functions perfectly at doing what it is supposed to do? This function: to obfuscate and abstract our own lack of knowledge and ability, to direct our attention away from our responsibility for our own egos. And is it possible that the government, by echoing the non-sensical desires and demands of a populace that is as fickle as a television programming schedule, is already the representative compass of a society that is ready and willing to sprint directly towards oblivion? This society that would rather wage war across the globe than put out the fires in our neighbors homes, and fix the gas lines underneath our own feet.
Provocative stuff, and no mistake; much like Rothstein, I’d love to see the results of an experimental run of a system like this, though I’m perhaps a trifle more optimistic about the results we might see, especially if there were a good degree of local granularity involved.