Cure your cancer by contracting a virus

Seneca Valley oncolytic virus structureThe race to find a cure for cancer continues among a number of vectors, the better known of which are chemotherapy and gene therapy. But there are other methods being developed, including oncolytic viruses.

The Seneca Valley Virus is a naturally-occurring (and untweaked) virus which has been shown in clinical trials to be remarkably effective at treating some of the more nasty human cancer types while presenting no threat to the human body itself.

The biggest upside of oncolytic viral treatments is that they can be used on cancers for which there is no viable surgical procedure, though their ability to travel through the bloodstream and work on metastatic cases as well as local ones is good news too. [image from Wikimedia Commons]

First clone of an extinct animal created

While plenty of endangered species have had the honour, the Pyrenean ibex has become the first completely extinct species to be cloned from banked genetic material. It didn’t last long, though:

“We are not especially disappointed for the death of the cloned newborn,” Folch explained in an email, because such deaths in cloning experiments are common.

“We will try to improve the technology in order to increase the efficiency of the cloning process.”

Inevitably, the hand of Michael Crichton reaches out beyond the grave and forces the biologists to reassure us that this isn’t the first step on the road to Jurassic Park. More pertinently, the cloned critter’s death (of respiratory failure) demonstrates that the technology for banging out copies of extinct species is far from perfected.

But it begs the question of which species we should attempt to bring back once we’re able – if any. What should the selection criteria be?

Spiral skyscrapers for our dystopian future

Thought I’d try my hand at io9-style headlines – just for fun, you understand. šŸ™‚

But with valid reason, too – the perforated biomimic skyscraper-arcology design below has been named Dystopian Farm by its creator, Eric E Vergne.

Eric Vergne's Dystopian Farm skyscraper design

Designed for the Hudson Yard area of Manhattan, Eric Vergne’s Dystopian Farm aims to provide New York with a sustainable food source while creating a dynamic social space that integrates producers with consumers. Based upon the ā€œmaterial logic of plant mechanicsā€, the biomorphic skyscraper is modeled after the plant cells of ferns and provides space for farms, residential areas, and markets. These organic structures will harness systems such as airoponic watering, nutrient technology and controlled lighting and CO2 levels to meet the food demands of future populations.

Vergne’s design is one of many entries in this year’s Evolo Skyscraper Competition, so we can probably safely assume that it’ll never actually be built – which will either disappoint you or make you heave a sigh of relief.

But speculative architecture eventually feeds back into the buildings we end up living in, and the need for sustainable urban food sources is pretty unavoidable. I can think of worse things to clutter a skyline with… but Vergne might want to think about giving it a slightly less grim name should it come to erection time.

Passive housing

passive_houseA fascinating article here at Physorg on American versions of German “passive houses” – houses that maintain a comfortable temperature in cold climates without the need for active heating systems:

Because there is no furnace, the rooms are quiet. The only sound in the kitchen is the hum of a refrigerator, which along with other appliances, helps supply heat to the airtight 2,300-square-foot Batavia, Ill., home.

Katrin Klingenberg, founder of the institute in Urbana, Ill., said that typically, passive-house owners use 10 percent of the energy used in a standard home.

More info on passive housing can be found here.

[image from popaver on flickr]

Stephen King, Amazon’s Kindle and the death of publishing as we know it

Amazon Kindle ebook readerWe’ve been mentioning ebooks a lot lately here at Futurismic, as the big publishing companies have suddenly woken up to the fact that the 21st Century has well and truly arrived… and isn’t going to go away.

One can look at the ebook as a way for the publishers to move away from the increasingly expensive and wasteful dead-tree model and reinvigorate themselves in the process. But there is a flipside, of course, as pointed out by The Guardian‘s Naomi Alderman:

if ebook readers took off, big-name authors such as [Stephen] King may be able to move to self-publishing. And that could mean the end of our current publishing system. Because of the way the publishing business is structured, big-name authors who sell millions of books are, in effect, supporting the industry. I’ve heard various estimates of the percentage of books that actually turn a profit. One agent I spoke to said 95% of published books make a loss. Others have put the figure lower. Either way, everyone agrees that a large majority of profits come from a small minority of authors.

If King, Dan Brown, JK Rowling and Patricia Cornwell were all to decide to move to selling their books online themselves, rather than going through a publisher, they’d certainly benefit financially. Typically, an author only receives about Ā£1 for every copy of their book sold. Rather than relying on a publisher, big-name authors could afford to simply employ an editor, a PR person, a typesetter and a designer. They could price their books at only Ā£2 or Ā£3 and still make much more money than under the current system.

There’s obviously a few flaws in Alderman’s reasoning here: first of all she’s discounting the nurturing aspect of the publishing industry, its ability to bring the next generation of Kings, Cornwells and (universe forfend) Browns up through the ranks; secondly, a shift to ebooks should see the loss margins on a title by a smaller author drop considerably, as there’ll be no massive pile of unsold books to pulp (not to mention much smaller distribution costs).

But what is plain is that book publishing needs to learn in adavance from the messy lessons that the record companies are still struggling with now. A look at the music industry blogs will show you that Alderman’s speculation above is an almost perfect mirror of what’s already happening with middle-band musicians as they (and their fanbase) realise the labels are primarily concerned with wringing the last few drops of profit out of a dead business model, and decide to leave them behind.

As has been pointed out before, the principle difference between the publishers and the record labels is that publishers haven’t yet been forced to innovate by the pressures of piracy. It looks as if they’d be wise to jump ship and start swimming for shore right now, rather than waiting to be made to walk the plank. [Image coutesy Wikimedia Commons]

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