Design and SF: an essay on intersection

spiral_designJulian Bleecker has written a fascinating essay on the intersection of science fiction and design and how they cross-pollinate, and how SF design (mostly movie-oriented) influence actual design, go read:

Design Fiction is making things that tell stories. It’s like science-fiction in that the stories bring into focus certain matters-of-concern, such as how life is lived, questioning how technology is used and its implications, speculating bout the course of events; all of the unique abilities of science-fiction to incite imagination-filling conversations about alternative futures.

It’s about reading P.K. Dick as a systems administrator, or Bruce Sterling as a software design manual. It’s meant to encourage truly undisciplined approaches to making and circulating culture by ignoring disciplines that have invested so much in erecting boundaries between pragmatics and imagination.

[via Boing Boing][image from stage88 on flickr]

David Brin guestblogging at Sentient Developments this week

David BrinThis week, transhumanist blogger George Dvorsky’s site Sentient Developments plays host to no less a science fiction luminary than David Brin as guest blogger. Says Dvorsky:

David will be writing about biological uplift, the Singularity, Active SETI (messages to extraterrestrial intelligences), and how a transparent society might work to help us mitigate catastrophic risks.

Topics that should be of some interest to Futurismic regulars, then; I file David Brin among the group of authors and thinkers with whom I don’t always agree, but who never fail to challenge my thinking.

Dvorsky has taken the time to provide a reading list around Brin’s first topic, namely biological uplift, and that first post is ready to read as I type. Here’s a snippet:

1. Can we replicate – in other creatures or in AI – the stunning way that Homo sapiens outstripped the needs of mere hunter-gathering, to reach levels of mentation that can take us to other planets and invent symphonies and possibly destroy the world? That was one hell of a leap! In Earth I speculated about half a dozen quirky things that might explain that vast overshoot in ability. In my next novel Existence I speculate on a dozen more.

In truth, we just don’t know. I frankly think it may be harder than it looks.

Go read. [Brin portrait from Wikimedia Commons]

Self-publish and be damned? The modern writer’s dilemma

Damien G Walter has been thinking about self-publishing, reassessing the established wisdom that self-publication is de facto a bad thing.

To date, self publishing has been a bad idea. People without the necessary skills and experience full prey to vanity publishers. Writers with some talent but who are still learning can expose their work too soon. Excellent writing can find itself swamped among the dross that is self published every year and no one bothers to go looking for it. The general wisdom on self publishing for anyone who aspires to become a professional author has been… don’t.

Walter goes on to point out that the landscape has changed somewhat in recent years, with rising stars such as John Scalzi and Kelly Link owing some portion of their success to self-publication of one stripe or another, and with the publishing industry suffering at the hands of market forces.

The main argument against self-publication is that it usually results in work that will harm the author’s reputation: rip-off vanity press jobs, or simply work that isn’t ready for publication which would have benefited from more revision and/or editorial input. These problems apply more to the beginning author, though; the point has been made before that an author with the stature of Stephen King could probably self-publish with a great deal of success (not to mention a bigger profit margin). But the principle appeal of self-publishing for a new author with genuine skill is the opportunity to start building an audience and having readers engage with the work… and that’s not so easy a benefit to dismiss.

Walter concludes:

If the general wisdom about self publishing has been ‘don’t’, its likely that wisdom may change to ‘do – but with great caution’. There has always been a role for self publishing, but as that role grows, the provisos that accompany self publishing will grow all the more important. Authors will need to be aware that self publishing means more than just having a book printed. It means being an editor, a distributor and a marketer of your own work. It means investing in yourself in exactly the way a good publisher invests in their authors, whilst taking the risks a good publisher also takes. It means understanding the arc of your own career as a writer in the same depth that good editors and agents do. And most of all it means having an honest and accurate understanding of the quality of your own writing, maybe the hardest thing of all.

For most self publishing will continue to be a mistake, but for writers with enough talent and determination it is already becoming an important part of building a readership, one that for many writers it will be a mistake to simply dismiss.

For what it’s worth, my work as a music reviewer has exposed me to a similar evolution in the music business; it’s easier than it has ever been for a band or soloist to record their work and make it available to anyone. As with writing, many of them jump the gun and release before their work is up to a standard where it can survive against product recorded and promoted by the established labels… but there are the occasional success stories, be they out-of-nowhere newcomers or established acts turning their backs on an exploitative  system.

This contrasts with our recent post on comics self-publishing, where Jim Munroe pointed out that the stigma against self-published works in the comics field is minimal by comparison to the literary field, and suggests that it may be because it’s easier to discern the quality of comics ‘at a glance’.

Will we see a change in attitude toward self-publishing in years to come? I think it’s inevitable, though it will take time… and the sheer mass of terrible self-published work (much of which Futurismic receives email about on a daily basis, I might add) will do much to slow it.

But economics may provide an accelerating force; all bets are off on how things will look in five years’ time. So, writers in the audience – published or otherwise – have you self-published, or considered doing so? And what factors influenced your decision?

Can I borrow a feeling?

hapticsjacketWonderful haptic jacket being developed at Phillips Electronics, from Physorg:

Paul Lemmens, a Philips senior scientist, explains that the jacket isn’t meant to make viewers feel the actual punches and blows that the actors are receiving on the screen. Rather, the intentions are more subtle.

The jacket’s purpose is to make viewers feel anxiety and other emotions through signals such as sending a shiver up the viewer’s spine, creating tension in the limbs, and creating a pulse on the chest to simulate a rapid heartbeat.

Intense.

[image from PhysOrg]

Climate change: Can’t the media do better than this?

george-willChris Mooney, author of the forthcoming Unscientific America, asks:

Can we ever know, on any contentious or politicized topic, how to recognize the real conclusions of science and how to distinguish them from scientific-sounding spin or misinformation?

Congress will soon consider global-warming legislation, and the debate comes as contradictory claims about climate science abound. Partisans of this issue often wield vastly different facts and sometimes seem to even live in different realities.

In this context, finding common ground will be very difficult. Perhaps the only hope involves taking a stand for a breed of journalism and commentary that is not permitted to simply say anything; that is constrained by standards of evidence, rigor and reproducibility that are similar to the canons of modern science itself.

He’s looking at George Will (there’s a link to his column if you want to follow it):

Will wrote [among other things] that “according to the University of Illinois’ Arctic Climate Research Center, global sea ice levels now equal those of 1979.” It turns out to be a relatively meaningless comparison, though the Arctic Climate Research Center has clarified that global sea ice extent was “1.34 million sq. km less in February 2009 than in February 1979.” Again, though, there’s a bigger issue: Will’s focus on “global” sea ice at two arbitrarily selected points of time is a distraction. Scientists pay heed to long-term trends in sea ice, not snapshots in a noisy system. And while they expect global warming to reduce summer Arctic sea ice, the global picture is a more complicated matter; it’s not as clear what ought to happen in the Southern Hemisphere. But summer Arctic sea ice is indeed trending downward, in line with climatologists’ expectations — according to the Arctic Climate Research Center.

Mooney ends with a tall order:

Readers and commentators must learn to share some practices with scientists — following up on sources, taking scientific knowledge seriously rather than cherry-picking misleading bits of information, and applying critical thinking to the weighing of evidence. That, in the end, is all that good science really is. It’s also what good journalism and commentary alike must strive to be — now more than ever.

[George Will picture: Wikimedia Commons]

Along the same lines, now that a volcano in Alaska is spewed smoke and ash at least five times in the last day or so, shouldn’t Gov. Jindal feel dumb about mocking volcano monitoring as wasteful spending?

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