Biomimetic robot carp scare the bejeezus out of me

copy-of-robot-fishI saw these robotic carp on the cover of today’s FT. Aside from looking scarily like the “Terror Fish” transport vessals of the Stingray villains the Aquaphibians this functional model looks splendid. Fortunately these fish will be using their powers for good, not evil:

Modelled on carp and costing about £20,000 ($29,000) each to make, the fish are to be lifelike in appearance and swimming behaviour so they will not alarm their fellow marine inhabitants.

The robots, the first of their kind, are equipped with tiny chemical sensors capable of detecting pollutants in the water. These let the fish home in on the sources of hazardous pollutants, such as leaks from vessels or undersea pipelines.

“Using shoals of robotic fish for pollution detection in harbours might appear like something straight out of science fiction [but] there are very practical reasons for choosing this form,” said Rory Doyle, senior research scientist at BMT Group. “In using robotic fish we are building on a design created by hundreds of millions of years’ worth of evolution which is incredibly energy efficient.

Each robotic fish is about 1.5 metres long and can swim at a maximum speed of about one metre per second. Whenever they find traces of pollutants, the fish can relay the information to the shore.

Absolutely fantastic.

[from the FT][image from here]

Peer-to-peer open-source hardware funding

electronic hardwareIn a moment of pure blogging synchronicity – right after a commenter dismissed the story about Detroit artists buying cheap houses as irrelevant, using the phrase “[c]all me when it is a commune of semiconductor engineers” – here’s a story about open-source hardware engineers getting together and forming a communal bank to provide start-up loans:

… open source hardware requires more financial investment than open source software. It isn’t as easy as downloading a few open source programs on to your existing computer, explains Stack. “With open source hardware you don’t get a finished product until you have put in some money,” he says. For instance, there’s the cost of the printed circuit boards, the solder and the components.

“To build open source software you just need to set up a project on Sourceforge,” says Huynh. “But if you get open source hardware wrong, it burns a hole in the wallet.”

The Open Source Hardware Bank, which isn’t yet fully up and running as a federally regulated lending institution, allows those interested in open source hardware to make investments in specific projects, then (hopefully) reap returns ranging from 5 percent to 15 percent from the successful sale of the projects. For the creators, the bank offers funding that could bring down the costs of their project and give them the stimulus to try out new ideas.

So, a miniature investment banking system based around a community with common interests; financial mobility and specialist knowledge are the main differences from more traditional models.

“Groups of people that have strong shared interest are really the perfect place for peer-to-peer financing to work,” says Scott Pitts, former managing director of Zopa U.S. “As a group they are not out to make a billion dollars, they just want to fund their passion and do it in a sustainable way.”

Only time will tell whether it will stay the course, naturally (and they may not be working on VLSI chip fabrication) but there’s your proof that it’s not just “hippies” and drop-outs who are trying to extricate themselves from the old systems. [via BoingBoing; image by jpokele]

DIY space photos

stratosphereThis is really neat, via Slashdot, some Spanish students have sent a camera on a balloon up into the stratosphere, with excellent results:

Taking atmospheric readings and photographs 20 miles above the ground, the Meteotek team of IES La Bisbal school in Catalonia completed their incredible experiment at the end of February this year.

Building the electronic sensor components from scratch, Gerard Marull Paretas, Sergi Saballs Vila, Marta­ Gasull Morcillo and Jaume Puigmiquel Casamort managed to send their heavy duty £43 latex balloon to the edge of space and take readings of its ascent.

Read and see more here.

[from the Telegraph, via Slashdot]

Building new communities in burst bubbles

foreclosed property sale signYesterday Cory at BoingBoing pointed out a story about a small artist’s community springing up in the now-notorious $100-housing districts of Detroit:

So what did $1,900 buy? The run-down bungalow had already been stripped of its appliances and wiring by the city’s voracious scrappers. But for Mitch that only added to its appeal, because he now had the opportunity to renovate it with solar heating, solar electricity and low-cost, high-efficiency appliances.

Buying that first house had a snowball effect. Almost immediately, Mitch and Gina bought two adjacent lots for even less and, with the help of friends and local youngsters, dug in a garden. Then they bought the house next door for $500, reselling it to a pair of local artists for a $50 profit. When they heard about the $100 place down the street, they called their friends Jon and Sarah.

All of a sudden, you’ve got a little nucleus of people turning the current economic crisis to their advantage; they’re even building their own miniature power grid based on renewable energies, and looking at ways to get by as cheaply as possible. [image by The Truth About…]

Much hay has already been made by commentators far more erudite than myself about the sea-change in public attitudes toward frugality and conspicuous consumption in the wake of the economic collapse, but the story above highlights the fact that it’s a lot easier and cheaper to avail yourself of the basics of modern convenience than it ever has been before… provided you’re willing to forgo your status symbols and think hard about what you need rather than what you want.

Artist communities, communes and cooperatives have cropped up again and again in recent (and not-so-recent) history, but I’d argue that never before has there been such viable potential for them to survive and thrive with a minimum of dependence on the state, nor a situation where the state would be willing to let it happen as a matter of expedience. Now, if Rushkoff is even partly right about the corporatist economy dying off for good, can we consider this Detroit community (and others like it elsewhere, like the squats of Berlin or Brighton here in Europe) to be the first signs of nation-statehood eroding from within?

Obviously the Detroit option is only available to those with enough capital to buy a foreclosed and deeply discounted property, but think about all those abandoned towns and towerblocks sat empty all over the world – how long before people stop waiting for their governments to find them somewhere to live, and start doing it for themselves? And how much in the way of resources will their governments be willing to expend on preventing them from doing so, considering all the other things they have to worry about?

The economics of fiction

No, nothing to do with bailouts or closed banks; this video is seven minutes of discussion between two economists, Tyler Cowen and Robin Hanson, on the economic value of fiction:

If you’re not too familiar with the language of economic academia (it’s a little opaque, to say the least), Bill Benzon’s summary of their points might be helpful:

It’s about signaling (a term of art in economics). Your preferences in fiction, and the way you articulate those preferences, signal your attitudes, values, and ideas to others. Fiction is a way of “getting people in touch with each other.”

The point is also raised that fiction can in some cases have intrinsic cognitive value as well, but the central idea – that your taste in fiction is an external signal about the sort of person you are – is an interesting one, especially for fans of genre fiction like ourselves. The obvious (and over-simple) response would be a kind of “fans are Slans” argument… but that would be to fail at being properly objective about the whole thing, to ignore the need for a proper examination of what makes genre fiction different to ‘straight’ fiction (which I suspect is, in many respects, a much smaller difference than it may seem from this side of the fence).

But what is it about science fiction that has made it such a socially cohesive artform by comparison to, say, romance novels? Is this simply a function of its minority status in the larger field of literature, or is it something to do with the riffs it tends to repeat, and the way those riffs resonate with readers? Or is it a separate (but related) part of the mindset that science fiction just happens to appeal to?

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