
Go read the whole comic!
(via Bad Astronomy)
Tags:science fiction, biology
More and more often these things are aspects of our modern reality that have no precendence in human history. Somehow history gets respect and people say it “repeats itself” even though that is not true. Science fiction isn’t exactly great at prediction, but the process is very useful for meeting the future with open eyes.Jason Stoddard suggested that the burden of the modern science fiction writer is keeping up with scientific progress. In response, Jeremiah Tolbert explained why Stoddard is wrong. The central issue seems to be how important "realism" in science is to science fiction (via Futurismic).
Some sf writers decided a while ago that true sf can only be based on the so-called hard sciences—astronomy, physics, chemistry, engineering, computer science, and so on. The word “hard” brings some gender luggage along with it. And sure enough, these guys find stories based on the “soft,” or social, sciences to be a debased and squashy form of the genre. They see it as chick lit for geeks. So, OK. If anybody wants to build a ghetto inside the ghetto and live there, fine with me. But I wish this sectarianism hadn’t infected Wikipedia. If they want to call my stuff social science fiction, that’s fair enough. But so much of what I write isn’t sf at all.Graham Sleight at Locus online: Yesterday's Tomorrows: Ursula K. Le Guin
[Left Hand of Darkness] traces a slow process of discovery — of Winter and its inhabitants. In that respect, in that it's about finding out, it's a perfectly science-fictional work. (The later Ace edition carries a provocative introduction by Le Guin, in which she administers a few well-judged kicks to the idea of sf as narrowly extrapolative or predictive.) We find out, for instance, via Chapter 7 how and why the Gethenian biology was created. This chapter is an ethnologist's report on the planet — what would, in other circumstances, be considered an "infodump." But Le Guin is so thoughtful a writer, the implications of her thought-experiments so thoroughly and deeply felt, that you find yourself wanting to hear this information, even if it is couched in as dry a form as this.
Peretti also mentions that his favorite author (and chief writing influence) was Michael Crichton, and this makes sense. Not only does the book have an anti-science bent, but it reads as a sort of mash-up between Jurassic Park, Congo, and Icons of Evolution. Even though it is a monster story, the author makes it clear that the real monsters are the immoral evolutionists who will stop at almost nothing to uphold their crumbling intellectual doctrine.Jeff Carlson writes about the background behind his novel Plague Year
In point of fact, the average gamer is nearly thirty, not dumb, and while he may enjoy bombs, blood and babes, I'm willing to bet he'd happily see a movie that doesn't assume he's stupid. When I watched Doom, the scene where a scientist explained that a certain percentage of the human genome has never been mapped (and the part that hasn't, well, that's your soul, you see) made me want to throw a rock through my TV -- which is ironic, as the film stars The Rock.SciFi Scanner looks at directors that include some real science in their science fiction. Included are Andrew Niccol, director of Gattaca and Steven Spielberg, director of Jurassic Park (and lots of other movies, of course).
It’s pretty obvious, if one looks around, that the life sciences and biotechnology have pervaded popular culture. A great way of demonstrating this is to look at all of the re-makes of Cold War-era science fiction and comics: Spider-Man, Hulk, X-Men, Fantastic Four, etc. It seems to now be a requirement to somehow put genetics in the stories, even if it really doesn’t make any sense (which is often). I’m less interested in what the director ‘intended’ to mean by this than what it means culturally that genetics, biotech, and even nanotech are always found in SF. One thing it means is that these sciences and technologies are normalized in a way that the general public going to a film will ‘accept’ their inclusion as a matter of course. Certainly there are always SF-geeks who dispute the technical accuracy of how the genetic mutation actually creates the superhero or villain, but on a general level these technosciences have become a part of a certain cultural imaginary. So the question is ‘what conditions had to be in place such that these particular technosciences could become normalized as a part of a certain world-view?’ Perhaps this process is somewhat parallel to the normalization of medicine and public health practices themselves.I think Thacker makes an interesting point that genetics has been "normalized" in pop culture, even though the science isn't usually accurately portrayed. I wonder if that (inaccurate) familiarity with biological concepts is actually a detriment to the public understanding of science. Is learning about real biology like unlearning a bad habit to the general public? I hope not.
So I think that popular culture is relevant, not because I believe that films should educate and moralize, but because there is actually a great deal of ambivalence in pop culture’s treatment of technoscience. We can’t live without it, and yet it seems to be our downfall. The movies that moralize about the ineradicable human spirit do so using the most advanced computer graphics and special effects. There’s also a sense in many of these films, books, and comics, that we as a culture are not quite sure what to do with all of this information and all these gadgets. It’s almost as if the greatest challenge posed to SF now is finding something interesting to do with all the technology that exists.
This, of course, ignores real population genetics. A certain minimum number of genetically divergent individuals are needed in a gene pool to maintain a healthy genetic diversity. For humans it is somewhere between 150 and 160. You usually won't find this in direct siblings. More casually, this results in the unspoken implication that said newly propagated species does not have a problem with incest.
One popular misconception seems to be how the entirety of evolution is preprogrammed, past and future. Evolutionary states that don't exist yet are just waiting in human DNA to be triggered by rather simple means, as opposed to the culmination of little changes brought on by passing down genes over hundreds of generations. Likewise, it's easy to "regress" in evolution. A Mad Scientist or a Negative Space Wedgie for example, can hit humans with rays that will turn them into Neanderthals or monkeys, regardless of the fact that humans evolved from neither. (If they made an effort, this could work, because there is a remotely linear progression of common ancestors for species. So close, and yet, so dumb.)Not to mention the love of Lamarckian-style evolution that's caused by environmental change, evolution that affects entire populations simultaneously, and future humans with gigantic heads. And that's how you get Mutants with a capital M.
Skin tone was another primary focus, as animators studiously considered, yes, what it would mean to be someone with green blood coursing through his veins. Their determination: The "meat" would be darker as a result, not brighter. Accordingly, their Hulk appears olive in most scenes and, fleetingly, almost slate gray. "We wanted to incorporate him more into our environment, to make him feel like he's right there and you could touch him," says visual effects supervisor Kurt Williams, whose team used software engineered for the fantasy menagerie of "The Golden Compass" as a springboard for rendering the Hulk. "We needed to approach him like a CG [computer graphics] human, not a creature."
History looks more and more like a science-fiction novel in which mutants repeatedly arose and displaced normal humans -- sometimes quietly, by surviving starvation and disease better, other times as a conquering horde' (Gregory Cochran, co-author of a paper on human evolution, quoted in Newsweek , 19 January)David Hughes, editor at Electric Spec, reviews Nancy Kress's Beggars in Spain, including how well the science holds up 15 years after its original publication.
I'm afraid that Kress didn't get it right in terms of how much genetic science (among other things) would develop. (If fact, there's one point where smoking is referred to as an "archaic" habit. If only we'd come that far!).Wil McCarthy's Lab Notes column in Sci Fi Weekly takes a look at the science of the Cloverfield monster
Since Khaan came into power his supremacy had been challenged by a single dissenter, a man named Krai. This man was a renowned “Coder”; one of the last survivors of a supreme race possessing the ability to manipulate DNA, the code of life. Krai was the only person with the power to challenge Khaan’s rule of terror. As his wrath turned against Khaan, Krai became the people’s hero, a symbol of rebellion and freedom.
I was reading an interview with Alex Garland about “28 Days Later,” where he said: This is basically me ripping off this book I read when I was a kid, called “Day of the Triffids.” I found it in a used-book store in L.A., called the Iliad, and from the first chapter alone I was hooked. It is a lot like “28 Days Later” – a guy wakes up in a hospital and there’s no one in there, and all of London is vacant. But instead of turning into zombies, everyone in London is now blind, because they were watching an asteroid shower. They figure out that he can see, so he’s being chased by all these blind people. Think about if everyone in New York lost their sight, and you were the one guy who could still see, and people figured it out. It’s just such a terrifying image. And then the plants show up. Just to add another layer, there are plants that whip out and destroy you. After I read “Day of the Triffids,” I read “The Ruins,” a Scott Smith book that’s also about killer plants. Now I’m afraid of plantsYou can win a copy of Edward Willett's new novel Marseguro. From the cover blurb:
Find out how to win a copy and read sample chapters.Marseguro, a water world far distant from Earth, is home to a small colony of unmodified humans known as landlings and to the Selkies, a water-dwelling race created by geneticist Victor Hansen from modified human DNA. For seventy years the Selkies and the unmodified landlings have dwelled together in peace, safe from pursuit by the current theocratic rulers of Earth–a group intent on maintaining human genetic and religious purity.
Then landling Chris Keating, a misfit on any world, seeks personal revenge on Emily Wood and her fellow Selkies by activating a distress beacon taken from the remains of the original colony ship. When the Earth forces capture the signal and pinpoint its origin, a strike force, with Victor Hansen’s own grandson Richard aboard, is sent to eradicate this abomination.
Yet Marseguro will not prove as easy to conquer as the Earth force anticipates. And what Richard Hansen discovers may alter not only his own destiny but that of Marseguro and Earth as well…
The first week's free book is Mistborn, by rising fantasy star Brandon Sanderson. Next week's will be Old Man's War by John Scalzi, 2006's winner of the John W. Campbell Award for Best New Writer. Over the next several weeks, other books still.
But where are the books for children and teenagers in which evolution does not cause mutated threats to the human race, where science and scientists save humanity and get the credit. Where scientists get the natty threads and the whip-crack one-liners. Where they don't just get to watch while their good work is taken by a cut lead man or woman and put to good use.He's asking for some good science-based fiction for 2009.
Slice of SciFi reports on the new internet-only series "IQ 145":Starkings’ science fiction tale, like all good sci-fi, illuminates issues that we grapple with in the present, such as war, bigotry, genetic engineering, and an unfair class system. [. . . ] Obadiah Horn and his consort, Sahara, are two other beautifully realized characters, giving us a view of what happens when a human-animal hybrid seizes power within Los Angeles and the prejudices he and the woman he loves faces. Like all good villains, Obadiah Horn isn’t completely villainous, and the tender moments he shares with Sahara make his dark side even more horrifice.
Shot almost entirely in front of green screen in hi-def, the series will follow Nate Palmer, the son of a renowned, inventor/futurist. Nate’s father, not known for fits of depression has mysteriously committed suicide. Nate is recruited by a secret organization to help search for his father’s last experiment but will soon discover that it is he that is the experiment.IQ 145 starts next week.
"The problem with the movie Gattaca is that it's assumed that these are guaranteed diseases and conditions, whereas that's not the case." According to Noonan, the associated risks for these genetic indicators "aren't 50 percent—they're more like 5 percent." Still, he worries the information could be used irresponsibly, even discriminatorily.io9 takes a look at the upcoming movie Sleep Dealer:
In Sleep Dealer, the U.S. has finally succeeded in stopping illegal immigrants crossing over from Mexico. But Mexicans can still work in American factories and farms for almost no money, thanks to the miracle of telecommuting. The people in Alex Rivera's film hook up their nervous systems to the Internet to control robots in the U.S., but it takes a toll on them, as you can see from the spooky clip and stills above. The film's title refers to workers who get so drained they collapse.Greg L. Johnson lists his favorite science fiction books of 2007 for SF Site, including Thirteen
Speaking of paranoia, Thirteen reeks of it. Set in a near-future Earth where concerns with genetically-influenced behavior has become a world-wide obsession, the 'thirteens' are humans whose genetic structure has been altered to remove most, if not all, of their inhibitions toward sudden, inter-personal violence. The main character is one of the thirteens, and it is a major achievement of Richard Morgan's novel that as the story goes on, the reader's sympathies align more and more with the actions of a character who scares the entire world.
Substantial parts of it are biologically nearly impossible: the wide cross-species susceptibility, the near instantaneous lethality, and the simultaneity of its effect everywhere (there are also all kinds of weird correlations with other sort of magical putative causes, which may be red herrings).A disease that infects only males is clearly plausible, but Yorick doesn't follow the example of his butterfly brethren, as PZ points out.
Now here's one thing that bugs me about Y: The Last Man. For this rapid dispersal of resistance to spread, resistant males should be procreating profligately. In the book, Yorick seems to be obstinately abstinent! (Some of the women, at least, understand the principle, and there are plots with attempts to capture the last man for breeding stock for their group.) I can understand how the author might want to resist turning the story into a boring male fantasy of having the only penis among teeming millions of fertile females, but come on, biological reality has to intrude at some point. The future of the human race demands it!I suppose you have to read the series to find out if Yorick indeed does his part to save humanity.
First, x-rays happen to be at just the right frequency to a) get through your skin, and b) break the oxygen-hydrogen bonds in water and produce radicals in your body. Radicals in turn wreak havoc on your DNA. The result? Cell growth out of control (i.e. cancer). Sorry, Superman! Maybe using x-rays to see through the clothing of your beloved isn't such a great idea. The x-rays used at the dentist and doctor's office are used very sparingly, and even so it still isn't a good idea to get too much exposure. There's a good reason they drape that lead apron over you and then leave the room while you are being irradiated.There are also technical problems: since x-rays tend to pass through, rather than bounce off of, solid objects it's not clear how the x-rays emitted by Superman get back to his eyes. Ralston speculates that Superman could possibly use the Compton effect to detect x-ray scattering, but even that isn't very plausible. Read the entire article for her nice explanation of what you can and cannot do with x-rays.
Also, what if his skin isn't made of atoms and molecules at all, but is actually some sort of perfectly reflective spacetime barrier, akin to the edge of the screen in an old-fashioned game of Pong? If the Surfer's body is essentially a programming glitch in the information fabric of the universe, it might well be impossible to destroy, at least with the sorts of weapons human beings—and mutants—can bring to bear. Also, if it could reflect gravitational energy as well as photons, that would explain why he's so light on his feet, and it even suggests an explanation for his talent of sliding through buildings without damaging them. I.e., he isn't a solid object at all.That sounds at least as plausible as a naked man surfing through space.
Spider silk could stop a Boeing 747 in flight, is stronger than bullet-proof Kevlar and more elastic than nylon, biologists say.There are also species of spiders that spin silk from their feet, rather than their abdomen.
And there's lots of science! Of a particularly twisted nonsensical sort, granted, but science nonetheless. For people like me, who adore finding pop culture tie-ins as an excuse to talk about science, this is a very exciting thing. Consider the case of a slime-based organism called Thrakkorzog, inventor of the Clonerizer. His cloning process involves mixing together a "secret cloning sauce," a pinch of a oregano, and a toenail from the subject to be cloned. Talk about being ripped from the headlines! Or perhaps the menu of an Italian restaurant...Read her whole post for more mighty blue science. Spoon!
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