Tag Archives: Bruce-Sterling

Bruce Sterling says the iPhone is the postmillennial Leatherman

In a slight reiteration of some of his more recent design-related riffs, this brief article by Bruce Sterling compares the iPhone to the Leatherman multitool:

Like all digital technologies, the iPhone has yet to achieve the hard-grained, Spartan elegancies of the steely Leatherman. It makes up for this with its cannibal appetite for other tools. Leathermans will disappear—I commonly give mine away—but iPhones devour other tools, digesting them into virtualized application services: phone, camera, e-mail, Web browser, text-messaging, music and video players, whole planet-girdling sets of urban Google maps, house keys, pedometer, TV remote, seismometer, Breathalyzer, alarm clock, video games, radio, bar-code scanner … the target list grows by the day.

It does indeed. Plus you can take an iPhone on a plane without anyone accusing you of being a terrorist… for the moment, at least. [via Warren Ellis]

Bruce Sterling interviewed at Nebula Awards website

Bruce SterlingRegular readers (including, embarrassingly enough, The Man Himself) will be aware of my status as a card-carrying Bruce Sterling fan-boy, but as it’s a fandom I know many Futurismic readers share I feel I can more than justify linking to a recent interview with Sterling conducted by David de Beer at the Nebula Awards website.

As usual, you get both sides of the Sterling coin: the lengthy and discursive answers:

The Commercial vs the Artistic in writing – is there a genuine difference between these two philosophies or are they artifical attributes? Are they in opposition, and if so, can they meet?

Well, I hang out a lot in countries where the creatives write in minority languages, and really, that’s just not an issue for them.  They know what American commercial writing looks like, but they themselves don’t HAVE any “commerce.” There aren’t enough potential readers to establish a market.

What they DO commonly have is “political writing,” the kind of stuff that gets your fingertips broken by the secret police.  So: take a guy like recent Nobel-Prize winner Orhan Pamuk — super-popular worldwide, a real old-school deep-thinking artsy literatus, and the crazy-fascist wing of the Turkish secret police are trying hard to kill him.  Now that guy is a writer’s writer. He’s got all those supposed oppositions stuffed into one refugee valise.  You know, fretting about a commercial sell-out is the least of Orhan’s problems.

Furthermore, it’s dead obvious that the writing problems that matter in America now are political rather than “commercial” or “artistic”.  America’s suffering a Civil Cold War.  Or at least, they were until the Right’s culture-warriors started losing it.

And the short sharp punches-in-the-nose:

Electronic vs Print publishing – any thoughts on the matter?

You should talk to my colleagues in newspapers.  If you can find any newspapers left.

Go read – even if you’re not a fan of his fiction, Sterling keeps an ear to the ground of reality better than any sf writer of his generation, and that alone makes him worth paying attention to.

Google ponders offshore data center

fortsIt sounds like something Bruce Sterling foresaw as long ago as Islands in the Net: Larry Dignan on ZDNet looks at a patent for a structure that would sit offshore like an oil rig:

Google is pondering a floating data center that could be powered and cooled by the ocean. These offshore data centers could sit 3 to 7 miles offshore and reside in about 50 to 70 meters of water.

….Now wild-cards abound. Jurisdiction issues will occur. Are states really going to allow Google or anyone else place these pontoons offshore without some tax hit?

And will Google take advantage of such a setup to bank your data like the Swiss bank money?

[Rusting sea forts in the Thames estuary photographed by phault; story tip: Gregory Frost]

Bruce Sterling interview: is the shine off steampunk as a literary genre?

Bruce SterlingRegular readers will be aware of my status as a card-carrying fanboy for Commandant Bruce Sterling.

It is in that capacity that I’m very pleased to report that the British Science Fiction Association‘s online media magazine, Matrix, has an interview with Sterling wherein he talks about The Difference Engine, and the steampunk subgenre it arguably spawned:

“My feeling about science fiction is that it ought to expand the scope of things that are possible to think. When Steampunk succeeded it did a little of that. If it’s just costume-drama or a merchandising tag, that’s not the end of the world, but it’s not a pursuit of a lot of use to anybody. Wells