Fencon: Science -- fact or crap?

"Science -- fact or crap?" was a game played by a team of pros against a team of fans... I think. The most prominent pro on the team was Gregory Benford, a physics professor, science fiction writer, and Fencon guest of honor. The purpose of the game was to score points by answering science-related questions. Each question had two parts: a fact-or-crap, i.e. yes-or-no part (but you could not answer "no", you had to say "crap"! :-)), and a follow up freeform" question. The questions drew from many different sciences: anatomy, anthropology, archeology, astronomy, biology, chemistry, geology, physics.

Tim Morgan, dressed as a cartoonish scientist in a lab coat, a propeller hat, goggles and rubber gloves, conducted the game. Team members had to share some of the same humiliation by donning rubber gloves and goggles. In addition they were given very cool plastic hand-shaped rattlers, so as to announce their readiness to answer a question.

Examples of questions

Here are the examples of questions. Most of them were not very hard.

A cow's second stomach chamber is called the reticulum. Fact or crap? (Fact.)

A cow has how many stomachs? Four. Can you name them? Nobody could.

Currently there are only 2 functioning human made satellites in orbit around Mars. Fact or crap? Crap. There are 3 of them.

Name the 3 functioning spacecraft orbiting Mars. Mars Oddyssey, Mars Express, and Mars Reconnaisance Orbiter.

A modern archeological project begins with 1 or more surveys. Fact or crap? (Fact.)

Name two types of archeological surveys. Aerial survey, geophysical survey, region survey.

Carbon dioxide will dissolve in water. Fact or crap? Fact. It's called soda.

The property of a substance to dissolve in water is called what? Solubility.

Climate is usually defined in terms of temperature and rainfall. Fact or crap? Fact.

Climate of a particular place is often summarized by an annual diagram called what? The climate graph.

Among the more difficult questions were "Calcium occurs most commonly in the sedimentary rocks. Name 1 of the 3 minerals that contain calcium." It was answered correctly by Gregory Benford: carbonate. Or: "A hydrate is a crystal that has water molecules trapped inside: fact or crap? (Fact.) Heating hydrates will drive the water out of crystals. It's called what?" Benford tried "water sublimation". Tim Morgan said he had "water crytallization", but deferred to Benford since he has a PhD. Actually, a quick look at Wikipedia does not give me a definite answer one way or the other.

Funny questions

Not all questions were dull and geeky. :-) Tim made sure to put some funny questions into the mix. Some of them were funny mostly because the people were so confident in their knowledge that they did not even wait for Tim to finish the question before jumping in with an answer. This lead to some moments of hilarity.

"The supercontinent that existed before the continents separated into their current configuration was called..." People started waving their rattlers hands without waiting to hear the end. "You're sure you want to answer before you heard the question?" Tim asked. "OK, go ahead." Fact! yelled one person. Crap! answered Tim. It's not Sangria. It's Pangaea.

"Fact or crap?" was the one and only science track event I attended at Fencon 2008. Yay to Fencon for having a science track. Maybe next year, if hotel fairies grant me some sleep, I'll be able to stay till the end and attend more of them.

Pictures from this game and from the rest of Fencon are available in my photo gallery.

Throughout Fencon Gregory Benford shared his thoughts on such topics as American dominance in the world and its role to play in the technological future, and how geoengineering can save the Earth's climate. Read more about it on my web site.

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Fencon: costumers

The Unseelie Court. More pictures of Fencon 2008 costumes can be found in my photo gallery.

The queen and king of the Unseelie Court. More pictures of Fencon 2008 costumes can be found in my photo gallery.

While I did not stay for the Fencon masquerade, I got to see some of the spectacular costumes on the Catwalk. It was a pre-masquarade event where the costumers discussed their creations with those who wanted to know the what, why and how behind a costume.

The Unseelie court were truly stunning. The level of detail in those costumes was jawdropping. But these people are not amateurs. The queen and the king of the Unseelie court are professional performers who appear in Renaissance faires and other such events where elaborately costumed persons are desired. At the Catwalk they told us more about what it takes to produce such a spectacular costume. One by one, starting with the queen, the costumers climbed on a chair and showed off their creations. The queen asked the audience to take a guess at how much just the fabric of her costume costs. To spare you the guessing, it was a jaw-dropping 800 dollars. And if you wanted her to make you a dress of that level of complexity, it would add up to ~ $1500, the other half of the sum being labor. Sooo, she pointed out, those of you who are dreaming to quit your boring job, take heart: it is possible to make a living off costuming, if that happens to be your hobby.

The Unseelies are "not the good guys", as the queen said; accordingly, their court contains an assortment of assassins, including Rose, or this young girl, whose tender age causes people to underestimate her, making her job as an assassin easier. They also contain mischief-makers, such as this Spriggin (behind Rose in the picture. Click on the image to see a bigger version). One of her contacts is opaque, causing her to see out of one eye only. During long appearances at Ren Faires she has to occasionally switch the opaque contact to the other eye, or it becomes too uncomfortable.

Rose, an assassin from the Unseelie Court	A teenage assassin from the Unseelie Court

This gargoyle was also part of the court, though I would have sworn gargoyles are of French, not Celtic, origin. :-) As one may note, this gargoyle did not have wings. His costume, like those of others, was incomplete when he showed it off on Catwalk. Yes, it's hard to believe that any of these splendid costumes was lacking something. But they were: I guess the costumers were saving the best for the Masquerade. The queen, for example, was only 2/3rds dressed! I can't imagine what else she was going to put on, or just as importantly, how was she able to walk under all that weight. Unfortunately, I didn't get to see the full costumes: one of the disadvantages of leaving early.

Dach the Barbarian Scottsman	Dach gives a demo on how to put on a kilt

A barbarian-Scottsman named Dach demonstrated the process of taking a kilt off and putting it on. Well, no, he did not remove his kilt completely. True to the tradition, he wore nothing underneath (or so he said. The audience was spared a demonstration ;-)) so he just showed us how to arrange the kilt fabric around the upper body. Like a sari, kilt is just another very long strip of fabric, hence takes some skill to turn it into a garment.

Not all the characters were Celtic or even European: an exception was Skinwalker, a Native American mythological figure with powers of shapeshifting. She seemed to be friendly with the Unseelie court; I guess they could always put her murderous powers to good use. This confirms that Columbus certainly wasn't the first European to discover America. :-)

The last people on the Catwalk were these Klingon women, who I already met a year ago at ApolloCon 2007. Their tag line was "doncha wish your girlfriend was hot like us!" sung with a belligerent growl.

All these and more pictures of Fencon costumes are available in my photo gallery.

Fencon chatter

Just heard a knock-knock joke about Harlan Ellison in the Fencon Consuite. The joke was rather straightforward, hence not very funny. Also heard a story about Harlan Ellison taking part in a dating game (a reality show). The highlight: Harlan's answer about his ideal first date involved taking a woman to a dump and shooting rats' eyes out. The tape never aired (big surprise :-))

Here's a funny term I heard at Jay Lake's "Slush pile live" panel. Rejectomancy: trying to figure out from a rejection slip what the rejection meant. For example, if you get a rejection from Realms of Fantasy, it is simple. If you get a blue slip, it means the first reader rejected it witout passing it up. If you get a yellow slip, it means it was passed up to the editor and she rejected it without giving it much thought. If you get a letter of rejection, it means the editor considered it before rejecting. With most other magazines, it's not that clear.

In "Slush pile live" Jay Lake talked about the nuts and bolts of how short story anthologies are created. Some of the considerations that go into putting together an anthology are amusing. For one thing, the stories must be ordered in such a way that they would vary in length, so that the reader could read some 2000-word-long story as a breather between 5000-world-long stories. Among the less obvious considerations, story titles should not accidentally make up a bizarre poem in the table of contents. Also, the editor must take care to not put together stories in such a way that the beginning of one story ties into the end of the previous story in an unintentionally humorous way. As an example, he used the stories from the writers' workshop he taught at this convention. One of them ends with "He took a deep breath and rang the doorbell." There is another one that starts with "The house was awake." Imagine how weird it would look to the reader if story B immediately followed story A. Especially if the end of A and the beginning of B were on facing pages.

It's little moments like that that make conventions fun.

Some pictures from the writers' workshop and from Fencon in general can be found in my photo gallery.

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Fencon opening ceremonies: somber and cheeky

There was a rather striking fact mentioned by the woman who represented FenCon's charity for this year. It is Reading & Radio Resource: an organization that records audiobooks for the blind and for kids with learning disabilities. Many kids drop out of high school because of learning disabilities that make them unable to follow written text, and not because they are dumb. They never learn how to read, and end up at a much higher risk than average population to be unemployed and to turn to crime. Here is what she said: future prison capacity is planned based on the number of third-graders who can't read.

That was the somber part of the opening ceremonies. The rest was, of course, humorous. The two toastmasters, who shall be referred to as BD and DLA, paid homage to (read: shamelessly riffed about) a certain well-known writer who could not come to Fencon, as he's still recovering from heart surgery. To avoid search engines' prying eyes, the missing writer shall be referred to as So-And-So. :-)

BD was talking about So-And-So's works. Then he asked DLA: what's your favorite So-And-So's story? DLA answered: my favorite So-And-So's story is how cheap he is. With that response he set the theme for the opening ceremonies. BD and DLA traded a few embarrassing stories about the So-And-So. When So-And-So had heart surgery, it was discovered that he had a silent "coronary event" in the past -- a heart attack with no symptoms. When So-And-So was telling BD this, he added: "it probably happened during vigorous sex." BD responded: "yes, and since you were alone, nobody noticed". BD added: this was one of maybe two times in my life I made So-And-So laugh. He laughed so hard he probably busted a stitch! DLA responded: "and that was before his surgery. That's how cheap he is!"

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Fencon writers' workshop

It is amazing how people who write stories I can't relate to at all, also are able to give useful critique on my story, as different as it is from theirs. It makes me feel that much worse when the only critique I can give them is a polite version of "this story sounds like a recount of Dungeons & Dragons adventure. Could you put an original idea or two into it?" It's even worse when it turns out the majority of the group loved the story, and I'm the only one there who found it "bla". I still don't know how to critique a story not based on my personal taste, but looking at it through the eyes of potential audience. I.e. if it is a run-of-the-mill fantasy, how do I put myself in the shoes of an audience who can't get enough of run-of-the-mill fantasy, instead of counting its strict adherence to the genre against it?

Then again, I am capable of finding merits of stories in the genre I don't like, and having an interesting, complex character would be one of them. Such a story could potentially interest me despite being not my genre. However, just like there are people who read science fiction not for characters, but for the inner workings of the science-fictional world, there are probably people who read fantasy not for characters, but for the mechanics of the fantasy world. Those people would probably satisfied with a garden-variety fantasy plot. I just can't put myself in their shoes.

Some pictures from the writers' workshop and from Fencon in general can be found in my photo gallery.

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Another gadget snafu

This morning was wasted by my hare-brained last minute initiative to get an audiobook to listen to during my trip to Fencon. Not long ago I bought an iVO Sound MP3 player. No, I haven't heard of this brand either. As it turned out, this proved to be the problem.

I bought an download of an audio recording of Robert Charles Wilson's "Axis" from Audible.com. When you buy a recording from them, it does not come in a clean, neat MP3 file. No, you have to install an Audible Manager software on your computer. Then you use the manager to transfer the recording, which is in a proprietary format, to your MP3 player. Before you begin that process, the Audible Manager asks what kind of MP3 player you have. Lo and behold -- in the list of 20-30 players, there was no iVO Sound! So I called their customer service. After putting me on hold, the guy determined this player was not compatible with Audible format, because it lacks some kind of universal plugin.

I asked him for a refund. (Those audiobooks are not that cheap.) The customer service guy tried to remind me that I have other ways to listen to audiobooks, such as on my computer. I told him I bought this recording specifically for listening on a trip, so playing it on a computer is not an option. After putting me on hold (probably to confer with a manager) he said they'll issue me a refund. It should show up in my account in 24 hours. We'll see if it does or not.

What a waste of time. It all could have been avoided if Audible.com listed the MP3 players they support on their website! How hard can that be?

When I come back from Dallas, I may actually return the iVO Sound to the store and buy a more common brand of MP3 player. The iVO is decent, but not the easiest player to operate. Its user interface is kind of screwy.

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John Scalzi "Old Man's War": book review

People in the FACT reading group had said "Old Man's War" is like Heinlein with serial numbers filed off. I have read some Heinlein, but perhaps the wrong novels, because I found no similarity between Scalzi and Heinlein. If anything, I like Scalzi better because he writes characters that feel real, not walking puppets playing roles pre-assigned to them by the author. I guess the similarities must lie in the military theme? I haven't read "Starship Troopers", but I bet it's not as funny as "Old Man's War". And the latter does not have a political agenda, unlike anything I would expect from Heinlein. Scalzi's dry wit shines from the very opening scene in the military recruiter's office, and it immediately inspired me to get to know the protagonist better. John Perry is a 70-something man who enrolled in the military to fight a war in the Colonies. He knows very well that once he leaves Earth, he'll never be able to come back, nor to send a message to his loved ones. For all purposes, military recruits are considered dead by the Earth society. More than that, nobody on Earth has any idea what the Colony worlds are like. At best, they suspect there are alien races and unimaginably advanced technologies. The only reason huge numbers of 70-somethings venture into the complete unknown is because they are convinced the technology of the Colonies will give them new bodies and significantly extend their life span. They figure it has to be true because an ordinary 70-year-old is not too fit to be a warrior.

The beginning of the novel does a good job of drawing you in. I was hooked at the point where the John and his friends reasoned out, from hints and glimpses and inconsistencies, that the world in the Colonies must be stranger than they imagine. At that realization I was rearing to go along for a ride with the protagonist.

The world out there turns out be strange, but unfortunately not in very interesting or profound ways. Sure, the rejuvenating treatment the new recruits undergo is quite shocking, but perhaps it would have been less so if they had read more science fiction ;-) It's not entirely original. Other than that, the strangeness of the Colonies comes mostly from all sorts of bizarre alien species living out there. The middle third of the book describes John's romp through all those alien worlds and species. Obviously he goes there not as a tourist but a soldier, and his exposure to alien cultures consists mostly of blowing them up. By his nature he's not very happy to do that, or to see his friends getting killed. But this inner dissonance does not do very much to advance the story. It still feels like some kind of Gulliver's travels-kind of tour of the bizarre, only without the satire. At that point the story stagnated and I wasn't very sure if it will take off again.

Towards the end the story regains its momentum when John meets Jane Sagan and forms an unusual, tension-fraught relationship with her. An interesting aspect to Jane's character is that despite being physically an adult, she, like other Special Forces members, is technically only 6 years old (she was born in an adult body). Thus, some of her emotional responses are like a 6-year-old's. I have to say I found it a bit illogical that individuals with emotional maturity of children would be trained to have the lethal superpowers, such as Special Forces members. Still, it's an interesting point to ponder. Another thing about the warriors of the Ghost Brigades that rang fake to me was that they secrectly longed for birth families they never had and fantasized about what their childhoods might have been like. They felt inferior for not having grown up the ordinary way. I did not find that believable. To be curious about what it's like to grow up in a family -- sure; but to feel inadequate for having missed that -- hardly. It reminded me of many classic SF stories where robots, despite being smarter and more capable than humans, wanted nothing more than to actually be human. Because you know, being human is by default superior to any mode of existence. Jane's predicament seemed similarly disingenuous.

Regardless, "Old Man's War" is a fun read, if you don't expect much depth from it.

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Joe Haldeman "Forever Peace": book review

I read this book because Joe Haldeman was a special guest at the ArmadilloCon 2008. I'm not sure I would have read it otherwise, because I wasn't too impressed with his much better known novel, "Forever War". Yet I was pleasantly surprised.

Not only "Forever Peace" is not a sequel to "Forever War": it's not even set in the same future. The only thing they have in common is that there is an endless war going on in both, but in "Peace" it's confined to Earth. Oh, and "Forever Peace" actually has a plot, which alone puts it head and shoulders above "Forever War". It's also not ridden with anachronisms. More than that, the political and cultural picture of the world portrayed in "Forever Peace" feels so much like our own it's hard to believe it was written before some key events that defined the current political climate. There is an amorphous war against ill-defined "rebels"; there are religious fanatics hoping to bring about the end of the world; there is even a high energy particle accelerator, which prompts fears that it will destroy the universe by accidentally creating an exotic form of matter that would swallow all conventional matter. It's as if Joe Haldeman was peering through a magic looking glass into our decade.

Well, not quite, since the particle collider is in Jupiter's orbit.

And there are other technological advances in "Forever Peace" that are way beyond our current state of technology (otherwise this wouldn't be science fiction). The most important of them, on which the premise of the book depends, is the concept of jacking, or brain-to-brain interfaces that allow people to exchange thoughts, emotions, memories, and all kinds of mental states. While this is nothing new in science fiction, this concept is explored more thoroughly in "Forever Peace" than I've seen in any other book (maybe I just don't read much? :-)). The book examines its impact on global scale (e.g. changing the way wars are conducted), and on the characters' personal lives. As the book goes on, the consequences of brain interfaces escalate beyond practical and into purely revolutionary. The main scientific innovation described in the book is also critical in resolution of the conflict on which the plot hinges. This is what I ideally expect from science fiction, and "Forever Peace" delivers.

The characters are interesting too. They cross typical gender, race, and occupation lines. There is a young black man who divides his time between teaching college physics AND fighting in the war against the "rebels". (He had the back luck to be drafted.) His girlfriend is a physics professor, a white woman 15 years his senior. Between the two of them and their friends, they are an interesting bunch. These are definitely some real, non-cookie-cutter people.

The only drawback of this book, in my opinion, that the plot arc takes too long to take off. It takes over a 100 pages for the main conflict to be set up. Not that those first 100 pages are boring -- they are full of interesting stuff that tells you a lot about the society the action takes place in. It's just at first you don't necessarily get a feeling that the book is going anywhere -- it's as if you are just watching characters living their lives.

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"Mamma Mia": movie impression

I saw "Mamma Mia". Don't know if I would side with the reviewers who said it was a stupid movie, or with those who found it great fun. ABBA's songs remain as catchy now as they were when I first heard them as a child. But the action between the songs is the problem. When I see people acting very stupid, I feel embarrassed for them. Well, unless they deliberately act stupid and I know I'm supposed to laugh at them, as in any Rowan Atkinson movie, then it's funny. But in "Mamma Mia" you were supposed not to laugh but to sympathize with them. And yet the antics of both the girl's and Meryl Streep characters made me cringe. And it doesn't matter that Steve said the only purpose of the characters' existence was to set up situations where they could break out into an appropriate ABBA song. I realize that. But when I see people on the screen, I can't help but judge them as if they are real and supposed to make sense. Unlike my 3-year-old, I can't tell myself "it's just fortend." :-)

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ArmadilloCon 2008: Stump the Panel

Here is my last, stray post from ArmadilloCon 2008. On "Stump the Panel" the panelists are supposed to come up with mundane and science-fictional uses for objects supplied by the audience. Indeed, in Rhonda Eudaly's, S. Andrew Swann's, and Lou Antonelli's imagination things like a pen, a nail file, a little red thing that evaded detection, and a box of Tictacs become something completely different. Especially the nail file. Rhonda had to restrain her imagination regarding this object, because there were children in the audience. :-)

And here is an article about a "Stump the Panel" from the ArmadilloCon 2006. That one was longer, funnier and more imaginative, mostly thanks to James P. Hogan. Ah well, maybe we'll have one of those again some day.

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Software to extract meaning out of life's trivia

Here's a very interesting article in Washington Post, that ties in to some degree with Clive Thompson's article on ambient awareness (discussed in my previous blog post):

Bytes of Life: For Every Move, Mood and Bodily Function, There's a Web Site to Help You Keep Track

It reflects a lot of my own thoughts about what part data plays in our lives, and how it could let us get much more out of life.

"In San Diego, statistics student David Horn [...] is working with his engineer girlfriend, Lisa Brewster, to develop an all-encompassing life tracker, under the working title of "I Did Stuff."

I would like to have these guys' job. They want to track and record everything -- everything that happens in their lives, down to (or especially) the most mundane events.

It's been known for a long time, and a recent study confirmed, that keeping a diary recording every bite they ate helped people to lose weight. And therapists recommend people who have trouble sleeping to record what they ate, drank, and did before sleep, to see if a trend emerges that shows a correlation between certain foods / activities and insomnia. Also, keeping track of your time minute-by-minute -- writing down all activities, no matter how mundane -- may allow you to see where all your time goes, if you feel you have no time for anything in your life. So there is a well-established practical use for navel-gazing, that predates the internet. And the internet made it infinitely easier to record your daily events, both the kind you do consciously (Brightkite for tracking your location, MyMileMarker.com for driving habits, Fitday.com to map food intake and calorie expenditure, Last.fm for listening habits, and even BedPost for sex life), and the kind your body does autonomously (sites for tracking heart rate and blood glucose levels, or the self-explanatory MyMonthlyCycles.com :-))

But these two researchers want to take it much further.

Tracking not just what you did, but what you got out of it

[...] David Horn already belongs to BrightKite, Last.fm and Wakoopa.com, which tracks his Internet usage. He's also experimented with Fitday.com to map food intake and calorie expenditure. It was satisfying for a while, but now he wants something bigger -- something simultaneously broader and more nitpicky -- to fill in the gaps that individual sites don't currently track.

Horn is working with his engineer girlfriend, Lisa Brewster, to develop an all-encompassing life tracker, under the working title of "I Did Stuff."

"I'd like to track the people I talk to," says Brewster, "and how inspired I am six hours later. And definitely location history -- where I am, what time -- "

"Correlated with weather history," interjects Horn. "And allergy data, pollen and mold in the air."

Plus, "Web sites I read and their effect," says Brewster. "If I spend a long time reading a blog, like TechCrunch, but I don't get noticeable output from it."

At first the author of this article is boggled by this level of self-indulgent navel-gazing, but then she seems to understand what it is about. The usefulness of tracking is of course not in the raw data (who would have the time to re-read their life at the same pace as they are living it? :-)) but in extracting trends that would help you correlate perceptions with facts.

Has it really been a month since you last had sex, or does it just feel like that? Did you really floss five times last week, or was it more like twice? Now that you realize that, are you a little less angry at your dentist for that painful last appointment?

Analysis of mundane events reveals profound trends in one's life

Self-tracking [...] is partly about the recording, but also as much about the analysis that goes on after the recording.

The apparent meaninglessness of data recorded over time is actually what makes it profound.

The problem with diaries and blogs, trackers say, is that people use them to record the events they think are meaningful. What they forget is that meaningful events are often a result of months of insignificance, a cause and effect not readily visible to the human eye but easily detected with the help of a computer program.

"Things that happen over time can lead up to bigger events," says Horn. "They may seem small by themselves, but looking at them as a whole I can see how they lead to a bigger theme or idea."

"I was always a terrible self-journaler," says Messina. "Every once in a while I'd write in a journal, but it was always a major, momentous event. 'Got to college.' 'Broke up with girlfriend.' You lose a lot of the nuance that caused that situation to come about."

Tracking can "zoom out over my entire life," he says. It could, for example, help him better understand the aforementioned breakup. "When you've self-documented the course of an entire relationship, trivia that doesn't seem like much could, over time," help him understand exactly what went wrong, and when.

Maybe, to extrapolate on Messina's idea, your weekly date night had been Friday. And maybe you were always in a tetchy mood on Fridays because you'd just come from chem lab, which you hated. Maybe the whole relationship could have been saved by switching date night to Sunday, after your endorphin-boosting yoga class. Maybe you just didn't realize the pattern, because you weren't tracking it. All the answers could be right there, in your life data.

We can extrapolate even further. Perhaps the tracking software, if it was sophisticated enough, could notice increasing frequency and viciousness of arguments between you and your significant other, increasing frequency and length of time spent apart, and things like that. The software could flag it to you as a warning sign that the relationship is in danger. Then you could take steps to get it back on track. You might say most people don't need software to tell them when their relationship is off track; however, I think people often ignore warning signs -- sometimes wilfully, sometimes out of inertia. Inertia certainly plays a huge part in everything we do. We would rather keep a mental image of things as they were at their most comfortable, or downplay the significance of worrisome events, than acknowledge the truth that something is going astray. Life-tracking software could point out discrepancies between our partner's words and actions. It could force us to pay attention to those signs before it is too late.

The software could also give us tools to defuse certain recurring arguments which, if unexamined, tend to pick up destructive strength like a hurricane crossing the Gulf of Mexico. :-) You could look at the software and say: "we've had this discussion before; here is what was said; here is the conclusion we have reached. Do you have any new information that would give us a reason to revisit this issue?"

Of course, there are a lot of people -- most people, perhaps -- who would hate the idea of having their every word or phrase recorded, and of those records being resurrected as evidence (even by people they trust). I'm sure some people might think it diminishes their relationship somehow. But how could truth diminish it? Anyway, that's a social engineering problem, though those are often harder than computer engineering. Among the latter, a major problem would be to find a way to structure the data so as to capture its essential qualities. For example, how would you compute the intensity of the four horsemen of Apocalypse (made famous by John Gottman): Criticism, Contempt, Defensiveness and Stonewalling? How do you quantify formless, deeply subjective data? How do you even decide what to measure? It would be a tough task, but one I would gladly spend years working on, if I didn't have to worry about making a living. :-)

In fact, if I had come of age at the time of Web 2.0., I would seriously consider going to grad school so that I could do this project as my thesis / dissertation. I would probably find a professor somewhere in some university who could get interested in this idea enough to serve as my advisor. (I've seen people in computer science departments doing stranger projects than that. Or if not in computer science, then surely in the interdisciplinary studies. :-))

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Ambient awareness, digital ESP

There is a great article by Clive Thompson in New York Times magazine:

Brave New World of Digital Intimacy

that explains the appeal of Twitter. Like many people, when I first heard of Twitter, and even long after I signed up for it, I thought it was pretty useless. At the very least it seemed useless for verbose bloggers like me, who don't like to post mere facts or sound-bite opinions without context or analysis (and you can't provide much analysis in 140 characters). But, as Clive Thompson says, the constant stream of friends' tweets provides an "ambient awareness" of daily rhythms of friends' lives. To quote the article, "It is very much like being physically near someone and picking up on his mood through the little things he does -- body language, sighs, stray comments -- out of the corner of your eye."

Each day, Haley logged on to his account, and his friends' updates would appear as a long page of one- or two-line notes. He would check and recheck the account several times a day, or even several times an hour. The updates were indeed pretty banal. One friend would post about starting to feel sick; one posted random thoughts like "I really hate it when people clip their nails on the bus"; another Twittered whenever she made a sandwich -- and she made a sandwich every day. Each so-called tweet was so brief as to be virtually meaningless.

But as the days went by, something changed. Haley discovered that he was beginning to sense the rhythms of his friends' lives in a way he never had before. When one friend got sick with a virulent fever, he could tell by her Twitter updates when she was getting worse and the instant she finally turned the corner. He could see when friends were heading into hellish days at work or when they'd scored a big success. Even the daily catalog of sandwiches became oddly mesmerizing, a sort of metronomic click that he grew accustomed to seeing pop up in the middle of each day.

This is the paradox of ambient awareness. Each little update -- each individual bit of social information -- is insignificant on its own, even supremely mundane. But taken together, over time, the little snippets coalesce into a surprisingly sophisticated portrait of your friends' and family members' lives, like thousands of dots making a pointillist painting. This was never before possible, because in the real world, no friend would bother to call you up and detail the sandwiches she was eating. The ambient information becomes like "a type of E.S.P.," as Haley described it to me, an invisible dimension floating over everyday life.

I'm beginning to feel that way about it too. And it's good for those fleeting observations that are not meaty enough to warrant a blog post. I might even change my mind about whether such observations do not reveal someone's personality better than well-thought-out blog posts. (If anyone wonders, my Twitter ID is elze.)

ArmadilloCon 2008: Campfire Stories

Joe Haldeman and Joe Lansdale told a few good stories ot the Campfire Stories panel, which took place on Saturday night in a darkened room. The four panelists were seated around a beautiful fake campfire. Joe Lansdale had entertained us Austin fans with his storytelling before at Nebula awards. The point of his Toastmaster's speech was how Texas is so weird it can't help but churn out great numbers of science fiction writers. He illustrated it with a story about the time an epileptic woman visited his house. It can be found in my article on Nebula wards ceremony. He recalled it here at the Campfire panel, as well as other incidents from his life. He shed some light on his family background, which kind of explained how he acquired all that colorful life experience. :-) Joe Haldeman was not to be outdone. I'll post only one of his stories here, as the other might contain a bit too many controversial details. ;-)

Joe Haldeman's story

One day Joe Haldeman was riding his bicycle home from a grocery store in his neighborhood in Florida. (I did not quite understand whether his neighborhood was in a "good" or "bad" part of town.) In these most mundane of circumstances (oh, and yay Joe for using a non-polluting form of transportation!) he got shot by a man in a passing car. The car sped away. The shot wounded him in the butt, but the wound wasn't very serious. He managed to bike home, then had his wife take him to the emergency room. The X-ray showed constellations of old schrapnel wounds. The X-ray technicians asked Haldeman: dude, which one is new? They couldn't tell, and neither could he. Thinking the wound wasn't serious, he declined surgery. He was afraid of surgeons more than of getting shot. The ER professionals replied: "dude, you don't know where that bullet is now! It went into your butt, by this time it can be in your brain!"

Once they figured out which of the multiple wounds showing up on the X-ray was the new one -- it looked round from several different angles -- the surgeon agreed it was better not to operate, since he would have to cut so deep into the flesh it would cause more harm than good. "But if you leave the bullet alone..." he gestured to the X-ray: "what's one more spot to a leopard?"

Joe Lansdale's story

Joe Lansdale's first experience with violence happened when he was 5. He had a little dog with who he bonded very deeply; they were like brothers, going everywhere together, and eating out of each other's dishes. A neighbor once saw Joe's dog digging in his flower bed, so he whacked the dog in the head with a pipe, grabbed him by hind legs and tossed him in a ditch -- all that while Joe was watching. Devastated, the boy went home and told his mother, who then went out, found a phone (they didn't have one at home) and called Joe's father. The father came home and headed straight to the neighbor's house. When the neighbor answered a knock on the door, Joe's father said nothing, just hit the guy really hard in the face. When the guy collapsed, the father took him by the ankles and swung him across the flower bed until the flower bed was completely flat. Then he tossed the guy in the ditch. His method of revenge was ironic, Joe said, because Joe had not told him that this was exactly what the guy did to the dog.

Surprisingly, the dog survived and lived until Joe was 17 years old. The neighbor survived too, but moved shortly afterwards. Back then people weren't so eager to sue as they are now, Joe said -- in fact, the neighbor would have been mortified to let the public know he had the hell beaten out of him. So he moved.

Joe Lansdale talked at length about his father, adding details that puts this story in context. His father was a carnival wrestler and boxer. He could bend coins with his bare hands. He could squeeze an apple with his hand to a pulp. People who tried to take advantage of him did not try to do it twice. One time, when he worked as an automechanic, a guy tried to take his car back without paying for the work; Joe's father knocked the guy out so badly, the guy forgot he had a car to begin with. Joe told of a few more episodes of his father solving conflicts with his fists, scaring poor Joe to death, and making even the local cops fear him. The only person he was scared of was Joe's mother.

After Haldeman and Lansdale spun their yarn, there was a moment of silence, until Bill Crider said: "I once stepped on a gum." He and Scott Cupp seemed a little embarrassed they did not have anything to top Haldeman's and Lansdale's tall tales.

ArmadilloCon 2008: Living With A Creator

"Living With A Creator" panelists were five spouses of creators (writers and artists): 3 women and 2 men. Perhaps unintendedly, the panel provided material for observations as to how an experience of living with a creator differed along gender lines. Take housework. One writer's husband said one of the perks of living with a professional writer is that he never has to lift a finger around the house. Never needs to rush home to feed the dog, does not have to take time off to wait for a plumber, and hardly knows how to operate a washing machine! It's all his wife's job because she has the flexibility of being at home whenever she needs to. It was apparent that not all spouses viewed it the same way, though. One artist's spouse said her husband's cleaning is a sign that he is in the "incubation phase" of his new work. When he's thinking about about his next project, but haven't started it yet, that's when he cleans -- as a way to procrastinate a little before plunging into work.

This reminded me what I heard on another panel, "Why I Write", in which more than half of the panelists proceeded to tell us why they don't write. Some of them put their writing on hiatus for predictable reasons, such as jobs and personal lives being too overwhelming at the moment. One author said that even though her husband lets her stay home and write, she can't. Instead she spends hours on Facebook. "Perhaps having a regular job to go to would help me structure my life for writing?" she asked. "I feel very guitly not writing, but I enjoy playing games on my computer". Well, well -- it resonated with what I've been thinking, that I am lucky my financial circumstances do not allow me to write full time. Otherwise I would be like her, and I would certainly not be a nice "creator" to live with. :-)

"Creatives" not too willing to collaborate

Do creative professionals and their spouses often collaborate? Is it common for spouses to offer ideas to writers / artists? The prevailing answers were: yes to the second, no to the first. Spouses' suggestions are not taken very often if at all, though some good may come out of unsolicited offering. When Joe Haldeman is facing a roadblock in the plot of a book he's writing, his wife Gay Haldeman tends to offer him ideas on how to proceed; he rejects them all, but after a few rounds of that he often figures out what to do next. So all this bouncing of ideas off of one another is not in vain. And Karen Lansdale once helped Joe Lansdale come up with an ending for his story which he had not been able to figure out himself, probably since he had been looking at it too long. So Joe put her name on that story. (I don't know if didn't mention the title of the story, or I just didn't catch it.)

Creative or not, it's tough to work in solitude

A big part of the panel revolved around the more mundane aspects of writers and artists jobs, that are not much different from any self-employed person's. The panic attacks that set in when you find out you've miscalculated the taxes you owe by $8000; the compromises necessary to balance the interactions between a spouse that works alone all day, and the one that comes home in the evening fried from their job. People who work at home face characteristic challenges of loneliness and lack of motivation. Two panelists revealed their writerly spouses seek distractions from solitude. One writes while watching old movies to keep her company, another works while reading a newspaper and chatting with a friend on the phone. (And I thought I was bad for checking email every 30 seconds while writing! :-) But unlike me, they had produced something publishable. So perhaps not all is lost for me despite my distractibility.)

What about the glamorous aspects of a creator's life?

There weren't many stories about dealing with the more esoteric or glamorous aspects of a creator's life. No groupie stories -- imagine that! Not even in science fiction writers' lives! :-) Perhaps we should have invited Neil Gaiman's wife to the panel. :-) And what about the perception of creatives as brooding, emotional, self-absorbed types -- isn't there a rich vein for stories there? The panelists didn't go far into that topic, except to admit that their spouses' moods are indeed affected by whether their creative project is going well, and what kind of reviews their books have been getting. One panelist put it this way: living with a woman who's writing a book is like living with a woman who's just had a baby. All her attention goes to it, so you have to learn to take a second seat.

The upsides of living with a creative

And the upsides of living with a creative professional? For one thing, you get to go to exclusive parties at conventions; though not all spouses enjoyed convention going, and some found SFWA parties boring, it turned out to be worthwhile for some of them when they unexpectedly ran into a Very Important Person they've always dreamed of meeting.

In a more extreme case, Gay Haldeman recalled someone saying to her: "I'm thinking of stealing your Rolodex", because there were all those famous people from Stephen King to George Lucas in it. "Oh, are they?" Gay replied. I don't know what I should be more envious about: the fact that she had rubbed shoulders with all those people or that it was so commonplace for her she didn't realize it was noteworthy! :-)



Gay Haldeman, David Lee Anderson's wife, and Karen Lansdale. More pictures from ArmadilloCon 2008 are available in my photo gallery.

A less tangible perk of living with a writer or artist is that your kids (if you have them) often venture into creative professions too -- if only because they don't know any other way of life. In addition, they may develop other kinds of creativity, such as finding ingenious ways to talk back to grownups. David Lee Anderson's wife said their son never put his name on his homework, even though that was required in school. When asked why he didn't do that, he said: mom, you sign a painting when it's finished. "He never finished his homework," David Lee added.

Pictures from ArmadilloCon 2008 are available in my photo gallery.

ArmadilloCon 2008: What You Should Have Read

"The Year is Half Over: What I Should Have Read" is a traditional panel at ArmadilloCon, where a bunch of avid and discriminating readers recommend recent must-read books in the science fiction / fantasy genre. The panelists are an assortment of writers, editors and booksellers. Without further ado --

Rick Klaw recommends "Somnambulist" by Jonathan Barnes. It's a late Victorian era / Edwardian novel about a magician. It's the oddest novel you'll read this year, or perhaps any other year, says Rick. The ending is a little weak, but by that time you don't care. He also recommends Ann and Jeff Vandermeers' anthologies "Best American Fantasy" and "The New Weird" -- a collection of really odd stories. They also have a collection named "Steampunk". When you finish reading it, you'll have an idea exactly what steampunk is.

Rusty Hevelin recommends reprints of Robert Heinlein, and Jack Williamson, who's still as good as when he started selling in the 20s.

Sheila Williams didn't recommend any specific novel or story collection, but mentioned a few new authors she likes very much, such as Ted Kosmatka (especially his story "Divining Light" which came out in a recent issue of Asimov's, and got many fan letters from engineers and scientists, who all wanted to perform the double slit experiment described in the story), also Felicity Shoulders, who has a story "Burgerdroid" in Asimov's. She also mentioned recent stories by Elizabeth Bear (March), Stephen Baxter (September) and Nancy Kress, but I didn't catch the titles of those stories.

Willie Siros' list of this year's must-read books

Science fiction:

Charles Stross: Saturn's Children -- his take on the later Heinlein. If Heinlein hadn't gone crazy and was still writing well.

Iain Banks: Matter -- a new Culture novel. Incredibly fascinating far future.

Greg Egan: Incandescence -- Greg Egan is probably the most out there hard SF writer there is; keeps up with the cutting edge of matehmatics.

Greg Bear: City At The End Of Time

Melissa Snodgrass: Edge of Reason

Joe Scalzi -- Zoe's Tale

Joe Haldeman: Marsbound

Chris Roberson: The Dragon's Nine Sons

Cory Doctorow: Little Brother

Peter Hamilton: Temporal Void -- finishes current duology

Richard Morgan: Steel Remains -- a very bizarre far future world

Alistair Reynolds: House of Suns -- new space opera

Neal Stephenson: Anathem

Fantasy:

Thomas Disch: Word of God -- in this novel Thomas Disch reveals that he's God, and that his opponent is Phillip K. Dick, which he's been fighting for all eternity.

Ursula Le Guin: Lavinia

Terry Pratchett: Nation

Diana Wynne Jones: House of Many Ways -- a sequel to Howl's Moving Castle. Willie thinks D.W. Jones is the one who God should have tapped on the shoulder, saying, hey, I'm gonna give you millions -- instead of JK Rowling.

Naomi Novik: Victory of Eagles

Adam. Roberts: Swiftly -- Jonathan Swift's Gulliver's Travels turn out to be real.

Jeffrey Ford: Shadow Year

James Morrow: Philosopher's Apprentice

Gene Wolfe: Evil Guest

Joe Abercrombie: Last Argument of Kings

J. M. McDermott: Last Dragon

Matt Hughes: Hespira

Tim Scott: Love In The Time Of Fridges -- surreal. Too absurd to try to explain in 2 sentences.

Sean McMullen: Time Engine

Steve Erickson: Toll The Hounds


In addition to all this, Willie mentioned "Go-Go Girls of the Apocalypse" by Victor Gischler. I'm not sure which category it falls into.

UPDATE:

Another person emailed me other recommendations that were mentioned on the panel, that I didn't catch.

Eric Marin recommends: ShadowUnit.org -- crime fiction with a supernatural twist, from TV concepts

Sheila Williams:

-- a Gulliver' Travels redux thingie by Gord Seller

-- "Lester Young and the Jupiter's Moons Blues" in the July Asimov's

-- David ????, "Flowers of Nikosia" in December Asimov's, about a Nirvana cover band

Madeleine Dimond: Michael Chabon, The Yiddish Policemen's Union

Some other people recommended:

-- Scott Lynch, The Lies of Locke Lamora

-- Michael Swanwick, The Dog Said Bow-Wow

Here are lists of books recommended on other "What You Should Have Read" panels: at ArmadilloCon 2005, ArmadilloCon 2006, ArmadilloCon 2007, ArmadilloCon 2009, ArmadilloCon 2010.

Retiring a cliche

There is a word in The New Hacker's Dictionary "marketroid", a derogatory term for marketing people. It encapsulates contempt geeks supposedly have for marketers. They are traditionally assumed to know very little about technology, being the kind of people who have their secretaries type up and send emails for them, yet they are the ones whose opinion executives listen to. They are the ones who promise customers unimplementable features on unrealistic deadlines, leaving poor techies scrambling to get them out of the mess.

Of course, I can't say whether a mutual hatred and contempt between those groups really existed, or if it was a bogus phenomenon manufactured by people who seek comfort in group identification (like Mommy Wars :-)) But if I were to follow conventional wisdom, I would have to stay clear of marketroids.

But I didn't. Monday night I went to a Tweetup where I met a bunch of technically savvy Tweeple (to use the alternatingly cute and cringe-inducing webspeak :-)) who are essentially in the marketing business. They do it in the new media: blogs, podcasts, Twitter, and social networks. So they are well aware how to use the net to engineer human interactions for all kinds of purposes, from commercial to political to saving the world. And I have to admit this is more interesting to me than how to engineer computers. To model real-life human behavior in data structures, to formalize interactions between people by finding an appropriate electronic format for them, and observe how they change as a result -- I find it fascinating. These folks haven't created the internet and don't necessarily know much about its plumbing, but they have ideas on directions in which to push it.

What I liked best about the people I met at the Tweetup is that many of them seemed to be interested in meeting new people and receptive to new interactions. Unfortunately, I haven't seen so much of that at techie gatherings. Those often turn into "I'm geekier than thou" pissing contests. The tone at this Tweetup felt quite different, far more democratic.

Of course, I still don't know whether all these marketing folks aren't guilty of overpromising to customers. :-)

In any case, I think The New Hacker's Dictionary is overdue for some new chapters.

ArmadilloCon 2008: John Scalzi's Guest of Honor interview

John Scalzi's interview took a different format than the usual Guest of Honor interview. There was no interviewer; Scalzi paced back and forth, shooting the breeze with the audience. He probably didn't say anything one wouldn't find on his blog. It's how he said those things that made him so entertaining. He acted out various stories from his life as little skits. For example, he said, after you win a Hugo, you get only a week to be flaunt it -- and he did a skit of a person who mentions his Hugo award in every other sentence. After a week is over, he said, you're supposed to be blase about it -- yeah, I won a Hugo, it's no big deal.

Then there was a rich vein of humor in his attempts to find out what it's like to be a 16-year-old girl. He had to do that in order to get the "Zoe's Tale" protagonist's voice right. "Hard as it may be to believe, I've never been a 16-year-old girl," Scalzi said. He also never understood girls in high school. "You can ask people I went to high school with. They'll say, "no, John. Noooo."" So what were his options? Hang out with teenage girls at the mall? He illustrated this dilemma with another skit, that began with his sidling up to a girl in the mall, and ended with a restraining order.

And so the interview continued in this spirit. As far as creating Zoe's character, his wife turned out to be his greatest resource. After all, she was a 16-year-old girl once. It took a lot of tries to get Zoe right, but eventually he succeeded, and became proud of Zoe as one of the finest characters he ever created. He also told this story at the writers' workshop to illustrate his point that writers should venture out into unfamiliar territory and not be afraid to fail. In Scalzi-speak that's called "the power of suck".

Later on in the interview he commented on Neal Stephenson, openly admitted to stealing from other authors, and talked about why he could not afford to be as polemical in "Old Man's War" as Heinlein was in "Starship Troopers". Finally, he revealed an unexpected fact about himself.

The whole article is available on my website.

ArmadilloCon 2008: Getting the Biology Right in SF

On "Getting the Biology Right in SF" the panelists skewered writers for common biology-related blunders we see in books and movies. The aspects of biology covered in this panel ranged from human anatomy and physiology to ecology.

As an emergency room physician, Kimberly Frost was uniquely qualified to educate writers on what kind of injuries a protagonist could sustain and still survive. One of the highlights of the panel was her showing the audience how far her blood would spurt if the arteries in various places of her body were cut. The panelists noted that there are lots of individual differences in how much bodily damage a person can incur and survive, but feats like jogging 500 miles with a gushing wound (one of the panelists has actually read a story where this happened) is flat out impossible. Yet human body is capable of less ridiculous, but still impressive performance under duress. Paige Roberts told a story about her ex-husband, who had half of his right hand blown off by enemy fire; the bullet severed the nerves that controlled the two outermost fingers, but he still had control of his index finger. So he clamped the wound down with his other hand and kept shooting, and saved a dozen soldiers' lives. In a few hours, though, he was flat on his back in a helicopter, being medevac'ed. Adrenaline can only take you so far.

Kimberly Frost has first-hand familiarity with what happens when movies and books use medical facts irresponsibly. For example, too many times in the movies you see people breaking the glass with their limbs when they want to break into a house or out of it, and the glass just breaks away. But in reality it doesn't work that way. Kimberly has seen people who tried to do it: some of them cut themselves only superficially, and doctors were able to fix them up, but others cut their tendons that way. Paige writes erotica, and she is careful not to give readers ideas to try things that would be very dangerous in reality -- like bondage with a rope tied around one's neck.

Later Paige Roberts and John Moore got into an animated argument on whether the difference between your and opponent's body mass is a deciding factor in winning a fight. John Moore argued that it was; Paige, who's done martial arts, thought other factors matter more. She said she would have little difficulty throwing a tall, muscular guy across the room, but would find it impossible to do the same to a short person with a low center of gravity.

On the ecology front, one the most interesting observations was the one Kelly Persons made about Frank Herbert's "Dune". "Dune" is often praised for its ecological theme, but the problem with Dune is that it doesn't have any ecology. "It's a planet with one species on it. There's no energy input into the Dune world," Kelly said. It takes a lot of energy to power a worm that's as big as a locomotive to move underground. What did worms eat? And where does the oxygen come from, given that it's a desert planet? John Moore asked.

Why is carbon, not silicon the basis of life? was a question from the audience. Because, says Kelly Persons, carbon is able to form long chains, while silicon can't. A combination of silicon and oxygen can form long chains, but only under certain conditions. If you are writing about an alien silicon-based life form, the temperatures on the planet where it evolved would have to be very different.

About the writers' workshop from personal perspective

I got some useful critique. But the main points I would need to address to make my story better are nearly impossible to implement due to their paradoxical nature. As I said before, I chopped my story down from almost 8000 words to a little over 5000 words. Naturally, a lot of action and dialogue was cut out. So what was the main advice I got from people who critiqued my story? They wanted to see more dialog and action in some places, showing how certain things happened, instead of just being told in one paragraph "this is what happened". But those were exactly the places where I compressed 2-3 pages into one paragraph! Ironically, they also said I should cut down the story to 5000 words and I may be able to sell it. So, expand it and cut it down. Thanks so much. :-)

To be sure, I'm not blaming the people in the critique group for contradictory advice. It is not their job to be consistent. :-) Their job is to point out the flaws they saw. They are not obligated to also figure out how to fix them. Any kind of feedback is valuable, even if it's contradictory. I have nothing but thanks to the people in my group. But... I still feel the universe is laughing at me. ;-)

The ArmadilloCon aftermath wasn't all bleak. While it's not a direct consequence of the writers' workshop, I got some metaideas on how to salvage my earlier story ideas. Some fairly good ideas from my earlier stories that were so bad they aren't worth rewriting, can be cannibalized into new stories, that will hopefully be short. (Who am I kidding? my inner voice whispers.) However, I started to approach my story ideas by calculating how many scenes it would take to tell a story. I think that to fit under 5000 words a story should have no more than 2-3 scenes. I'm sure other people's mileage would differ, but for me, this calculus is pretty accurate.

Oh -- the bat-watching after the Thursday's pre-ArmadilloCon dinner unexpectedly turned out fruitful for me! While not expecting to see anything more than an underwhelming stream of black specks flowing out from under the Congress bridge, I saw an older man in a skimpy, sparkly cheerleader's uniform, milling about in the crowd. I joined several tourists in snapping a picture of him. He obligingly posed against the Austin downtown skyline. Later I found out this was actually the elusive Leslie, the "keep Austin weird" icon! I say elusive, because for all I've heard about Leslie, I've never seen him -- and I've lived in Austin 9 years! So, now I know that unlike Santa Claus, he actually exists.

ArmadilloCon writers' workshop: pros' advice and a story construction game

The writers' workshop started with advice panels on writing. Some of the advice the pros gave was debunking common writing myths, so in a way it was metaadvice. Sheila Williams, the editor guest of honor, shared some good, compelling pieces of wisdom. It's all the more valuable coming from the mouth of the Asimov's editor. She identified mistakes made by beginning authors with accuracy that made me hang my head down in embarrassment a s I recognized myself making them in my own writing.

Then Don Webb conducts an audience participation game. He and the audience collaboratively construct outlines for two genre stories: an immuno-defficient woman in a bubble encounters a giant germ (horror) and a little slave boy in the 19th century American south meets aliens (science fiction). For this, the audience needs to decide: the story's genre (SF, F or H), who is the protagonist, where or when the story is taking place, and, most importantly, what is the driving force for the story. If it's horror, what is the protagonist afraid of? If they are aliens, what do they want?

After the critique sessions, ArmadilloCon guest of honor John Scalzi gave a closing speech for the workshop students on the power of suck -- why a beginning writer should suck as hard as he/she can. :-)

The whole article can be found in my web site.

The pictures from the writing workshop and the rest of ArmadilloCon 2008 can be found on my web site.

William Gibson in Austin, June 11, 2008

William Gibson gave a reading, answered audience's questions and signed books in Barnes & Noble on June 11, 2008. He started by saying he was glad to be back in Austin, a city that 14 years ago was ground zero for the "so-called" cyberpunk movement. Then the microphone failed. The irony of this happening right before the speech of a writer who pioneered a new attitude towards technology in science fiction did not escape the audience. After a few attempts by B&N staff to fix the microphone, Gibson gave up and said he'll do a reading a capella. "I don't let technology get in my way," he said. "People have been reading books aloud for centuries. I'm gonna do it the way Byron did it, the way Dylan Thomas did it, except sober." And he read part of the first chapter of his latest novel, "Spook Country".

Then Gibson answered audience's questions. A few of those questions were specifically about "Spook Country", and they didn't make much sense without having read the novel. Others were about writing and Gibson's view of the world in general. Here are a few questions and Gibson's answers. Does he consider his works to be dystopian? Does he create his characters deliberately, or do they spontaneously generate themselves? The latter is definitely the case, as in an example of a character that grew out of a white room. Is there really such a cultural phenomenon as cyberpunk? Last, not knowing much about technology can enable a SF writer to see the forest for the trees.

The whole article is available on my web site.

Pictures are in my photo gallery.

Austin High Tech Career Fair

Austin High Tech Career Fair

Was great. Though I'm not actively looking for a job, it was interesting to see what's out there. I was glad to see that C++ seemed to be in demand, and C# / .NET even more so, as I happen to specialize in those technologies. I also took it as a good sign that some recruiters roamed the hall looking for anybody with a software developer's identifying green star on their badge. One of those ultra-enthusiastic recruiters touted the casual office culture as one of the main perks for working at that company; as a visual evidence whereof she spoke, one of the software guys in the company booth wore his jeans low enough to deliberately expose a sliver of his plaid underwear. :-) Hmm. I think even in the days of the first internet bubble you didn't get to see stuff like that in corporate-type events.

My interaction with recruiters and company representatives varied from brief exchange of resumes or business cards, to long conversations that resembled job interviews, in which they asked me about the details of my work. Later, during the networking part, I had a good conversation with an internet entrepreneur about my personal bootstrapping project. He was actually the first person I talked about this with. It's amazing how your pipe dreams suddenly start to take shape and not seem so unrealistic anymore when you discuss them with someone. Once you start talking, you are forced to put your nebulous concepts into words, and suddenly they crystalize.

Steve unexpectedly ran into his former roommate from his graduate school days, and we chatted with him a little. Then a door prize drawing was announced: door64 was giving away Chumbies. And what do you know -- Steve's ex-roommate won a Chumby! People swarmed all around him to take a peek. I was envious, but did not stay long enough for the second drawing. The crowd of people thinned out pretty quickly after that.

Social Media Camp, Austin, Texas, July 30, 2008

The Social Media Camp was modeled after BarCamp (or perhaps I should say it was a kind of a BarCamp). The campers occupied Cafe Thistle, which was partitioned into two areas; plus there was a lounge where a smaller group of people were aving discussions.

Michelle Greer. More pictures from the Social Media Camp are in my photo gallery.

"Media" was a key word determining what this camp was about; a lot of people in it seemed to approach social web from a marketer's/entrepreneur's, not geek's perspective. Unlike at a BarCamp I attended a year ago, there weren't many people here to chat about mind mapping via emacs shortcuts :-) But looking at how the web enhances or changes the lives of non-technical people can be more interesting than looking at it from a developer's nitty-gritty perspective.

What data portability means to non-geeks

At times, though, it was apparent we didn't speak the same language. For example, Michelle Greer started her session on data portability by asking the audience to define the concept. Somebody piped up "it's when you make a friend on Flickr and transfer him/her to your Linkedin contacts". Or speaking more generally, it means your contacts are portable across all of your social networking sites. Now that's quite a bit narrower meaning than the one used in computer science. Anyway, according to Michelle, data portability "saves you time so you're not a big loser, sitting at the computer all day, updating your contacts; so that you could live your life! So that you could use social media as a tool." And if that will be attained, she said, it will be through semantic web. Which is, to use another loose definition suggested by the audience, "embedding meaning in what you find on the web. It's data about data."

Actually, who's the geek here? :-)

I would have thought that people who go to conferences like this already know what semantic web is, but I guess many of them really were nontechnical. Michelle, for example, proudly declared herself a nongeek (having been an athlete in high school, she supplied this fact as an incontrovertible anti-geek credential :-)) I don't know about that -- a person who spends some thought on information architecture is a geek in my eyes, but I mean it in the best possible sense, as in "a person who uses technology to solve problems". Anyway, she assured everybody she only needs data portability to make her off-line life more efficient. Then she asked the audience to unleash their pet peeves regarding social web applications -- what do they currently not like about them, and what improvements they would like to see, at least where data portability is concerned.

What people miss in social web applications

Addie Broyles. More pictures from the Social Media Camp are in my photo gallery.

Addie Broyles' complaint was of a general kind: "it takes a lot of time to stay on top of all accounts", even though she considers herself a light user of social media.

Another person said she wanted to manage all her contacts on my own site, "not have to chase what's the cool site to go to next. Because inevitably we know that those sites will grow cold after a while." I guess she meant she didn't want to have to create an account and grow another network on friends on the next hot social networking site, when Facebook falls out of fashion. I can certainly get behind this wish.

Another woman said she wanted to maintain a separation between her identity a state employee, and her "social" profiles on Twitter, etc. So how do you have data portability while keeping those things separate? she asked. For some people it's desirable to be able to "port" their friends from one social network to another, but others need to maintain a brick wall between their work and social identities. In that way, she said, her situation was the opposite than that of JMac and Ricardo from Dell, who gave an earlier presentation on how Dell builds communities; they said Dell requires its employees to self-identify as working for Dell when participating in the social web. Other companies, however, have strong policies against that, up to taking sanctions on their employess they catch in online forums. So how do you meet the needs of both kinds of users? I find it a very interesting question too.

Michelle attempted to partially answer it by pointing out that when you are on social sites such as Twitter, and it lets you invite all the friends in your contacts, it gives you a choice which friends to invite. So don't invite your work contacts. Unfortunately, that does not even begin to address the problem of keeping work and social online identities separate.

How old media uses new media

Addie Broyles, Rob Quigley, Kristi Kingston and Omar Gallaga. More pictures from the Social Media Camp are in my photo gallery.

Overall I can't say I learned something very deep or unexpected about social media; the presentation topics stuck to the basics; however, it was interesting to listen to how other people use social web applications. And the Half-Baked game was quite eye-opening. (More about that later.) There was a number of industry representatives at the camp, from both "traditional" and Web 2.0 companies. Representatives of the "old industry" shed light on how their companies use social media to communicate with their users and to build their company's image in the community. For example, four journalists from Austin American Statesman -- Addie Broyles, Robert Quigley, Kristi Kingston and Omar Gallaga -- professed to be very much into Twitter; Addie Broyles (@broyles), the AAS food writer, tweets her readers all the time, passing back and forth tips on what's on sale at which HEB, and where to find certain products, and such. Readers have also suggested stories to AAS. Somebody from the audience asked them whether AAS was able to monetize their Twitter efforts, or is it an "editorial initiative" (thus confirming my suspicion that most people here were media people, not techies; as a software developer, I wouldn't know what an "editorial initiative" is if it hit me on the head). An AAS guy replied they've been kind of, sort of able to monetize it is by increasing traffic to their website. A lot of visitors to Austin American Statesman website that come from Twitter don't normally go to AAS website directly.

One thing was definitely worth, though, and that's the Half-Baked game. It's like having a ringside seat to an internet bubble. Here is a separate post about it.

Pictures are available in my photo gallery.

Jay Lake "Mainspring": FACT reading group discussion

10 people attended the FACT reading group discussion of Jay Lake's "Mainspring". Everybody except 2 people started the book. 6 people finished it, 2 more were planning to finish. 8 people had read something by Jay Lake before.

"Mainspring" is set on a world that looks a lot like our Earth, except it's literally a clockwork mechanism. The gears along the Earth's equatorial wall mesh with those of the Earth's orbital track as the planet travels around the Sun. Inside the Earth a giant spring, Mainspring, keeps the planet rotating around its axis. But now the Mainspring is becoming unwound, and world is in danger. A young man named Hethor, a clockmaker's apprentice, is sent on a quest to find the Key Perilous for winding up the Mainspring.

Several people thought the notion of the world as a clockwork mechanism raises interesting points about religion, but they disagreed whether this novel did a good job exploring those religious implications. Hethor's enemies, who try to derail his quest, do so because of religious differences, but it's not clear that the inhabitants of this world have a lot of latitude in religious interpretation of their everyday experiences. As some readers pointed out, faith is a belief in things unseen, but in this world God's presence becomes apparent as soon as you look up. The orbital track could have only been made by a super-powerful designer. So faith, as we understand it, can't really exist here.

Another reader argued that characters' doubts concerning religion are nonetheless justified, because a mechanical universe does not necessarily imply a conventional kind of God. "Did the maker of all these gears put the gears in motion and then walked away? The fact that the creator put the gears in motion doesn't mean there's someone watching day-to-day and intervening," said the reader.

Two people noted that the book has a more religious tone than one would expect from the cover blurb. The blurb promises Monty Python, but the novel is anything but. It's not irreverent, funny, or amusing, said one reader, who saw Hethor as a Christ figure. The fact that the key for fixing the world fit in Hethor's heart only reinforced her impression of "Mainspring" as a very reverent, very religious book. Another person agreed with that impression, pointing out that all the villains were Rational Humanists and all the good people were religious. Yet he thought the view of a world as mechanism wouldn't make a case for religion. So he found the book to be internally inconsistent.

Internal consistency of the world described in "Mainspring" was a fodder for much discussion. For one thing, people weren't sure whether the story should be taken straightforwardly or as an allegory. If this is straightforward science fiction, then, as one reader pointed out, it wouldn't be possible to wind the gigantic Mainspring with a key small enough to fit in one's heart. Another reader saw the clockwork universe as an allegory, and the key as purely symbolic, so the task of winding up the Mainspring wasn't physical, he concluded. Others argued that it's hard to see the gears and springs as mere metaphors when descriptions of the mechanisms that move the Earth are so detailed and tangible. Yet another reader said the notion that the Earth is filled with gears is so nonsensical (in that case what keeps you glued to it? he asked) that he concluded from the very beginning this book should not be analyzed intellectually. So he took out his brain and enjoyed the adventure.

Hethor's adventures -- his travels on airships and encounters with exotic tribes -- were found enjoyable by most readers. In that sense they found "Mainspring" comparable to books by Edgar Rice Burroughs, or "Lost Word" by Arthur Conan Doyle. However, several people were bothered by magic that suddenly appeared in the final pages, after having been absent anywhere else in the book. Nothing in "Mainspring"'s setting indicated there was magic in this world. One reader even said he wondered if the book changed overnight. Before the magic appeared, he didn't see how the character was going to achieve his goal in 30 pages, unless the story continued into the next book. He would have preferred that, instead of author pulling magic out of the hat.

There was also some confusion as to whether the people Hethor encountered in the Southern hemisphere were mechanisms or flesh-and-blood people. Hethor heard gears clicking in those people: does that mean they were, in fact, robots? Does that imply the people of the Northern hemisphere, including Hethor himself, were robots too, and they just haven't discovered that yet? Or was the clicking of the gears some kind of allegory, not to be taken literally? This was yet another confusing aspect of the book.

Yet a lot of people enjoyed the book despite the seeming inconsistencies: they chose whichever interpretation made the most sense to them.

Overall we agreed we were probably seeing more philosophical controversy in the novel than Jay Lake put into it. For example, one reader saw in "Mainspring" a parable for the pressing issues of today. "Here's a person who discovered that the world has a big problem; and there are people who don't believe in that problem and believe that God is going to come along and make it all OK. I wonder where Jay Lake got such an idea?" (he said sarcastically).

"So you think Al Gore inspired this book?" another reader asked.

"If so, a 12-year-old Al Gore inspired it," the first reader replied, "because it's way too naive."

Naivety and passivity were the main reasons why several people didn't like the protagonist, Hethor. Somebody said "He makes a couple of decisions in the 1st chapter, and then pretty much doesn't have any choices. He gets into situations that compel him to move in a certain direction. And then he doesn't make another decision until [halfway into the book]." Another reader commented: "I've never read a quest book where the hero had it so incredibly easy."

Others liked that while Hethor started out as a sheltered character, he learned a lot more about the world during his journey. One reader in particular liked Hethor's humor. Even when things are going horribly, he has a way of finding something darkly humorous about the events.

Everybody seemed to like several of the secondary characters, especially the librarian, who was the universal favorite. Arellya and the drover girl Darby were also thought to be interesting. Some people were disappointed that those characters disappeared quickly and for good.

Many people also liked the images in the novel, such as the image of Earth's brass orbital tracks, the vertical city on the equatorial wall, the airships. For some they were the best part of the novel, making up for its weaknesses.

Writing, a semi-failure

I finished my story for the Fencon writers' workshop. Alas, it's not something I can be proud of. I tried to write an original story, and as always, even when trimmed to the minimum, it was 3 times as long as the word quota (the magical 5000 words). So instead I dusted off one of my older stories that could be easily chopped down to 5000 words, and submitted it. This is so dispiriting. I wonder if I'll ever be able to write a story that fits the guidelines (well, obviously, I did that a few times in the past, but I'm afraid it's not reproducible). I'm going to try now to expand my latest story into a full-blown novel (or at least a novella), filling it in with more characterization (ha! who am I kidding?) and more worldbuilding, and then see if I could take just one episode and make a story out of it. The problem is that a story must stand on it own: it should not require additional background, and it should achieve resolution in the end -- and I'm not sure that's possible to do within the setting I'm writing about. What a conundrum.

If real-life people cared as much as netizens

From Washington Post:

The Impassive Bystander: Someone Is Hurt, in Need of Compassion. Is It Human Instinct to Do Nothing?

A woman fell on the floor, convulsed and died half and hour later in a hospital's waiting room while the staff walked by, watched, and did nothing. (Fellow patients didn't call for help either.)

A 78-year-old man tries to cross a street with a carton of milk. To quote the article, "He steps off the curb just as two cars that appear to be racing swerve on the wrong side of the street. The first car swerves around the man. The second car hits him and throws him into the air like a doll, then speeds away. What follows is even more chilling: People walk by. Nine vehicles pass him lying in the street. Some drivers slow down to look but drive away."

The article questions how it could have happened, and whether we are actually wired for indifference.

If no one else is moving, individuals have a tendency to mimic the unmoving crowd. Although we might think otherwise, most of us would not have behaved much differently from the people we see in these recent videos, experts say. Deep inside, we are herd animals, conformists. We care deeply what other people are doing and what they think of us. The classic story of conformist behavior can be found in the 1964 case of Kitty Genovese, the 28-year-old bar manager who was slain by a man who raped and stabbed her for about half an hour as neighbors in a New York neighborhood looked on. No one opened a door for her. No one ran into the street to intervene.

We seem to be more caring on the internet

At the same time, most of us in the blogosphere have probably heard of cases of people rallying around a virtual friend who's having a real life emergency -- e.g. calling police upon suspicion that a fellow blogger is about to commit suicide -- even if they have never met that person before. It can make you wonder: can we engineer the real world to be more like the internet in that respect? Would we be more likely to help a stranger on the street if we knew he was just a few friends away from being connected to us on Facebook?

Can we engineer real life to be more like the net?

Among humans, negative example is apparently contagious. But perhaps our machines could show some positive example for us, if we programmed them to do so. Let's say, a victim's mobile device notifies his/her Facebook friends, Twitter followers, or other social networking contacts; they in turn could alert their friends on their mobile devices based on location; and so the bubble of alerts could propagates to those who happen to be relatively close to the victim at the moment. (In the 6-degrees-of-separation world this should not take long.) Then perhaps those people within the alert wave might be motivated to help, not the least because they know there is an "audit trail" making them accountable to their friends. (Of course, there are a few technical problems here, but I'm talking about the concept.)

So in a sense the users would be Big-Brother'ing each other. But at the same time social networking applications could prompt us to do the right thing by making it appear as if somebody is doing the right thing. :-)

I finally saw "Sex and the City"

It's fluff as advertised, but a really long fluff, at that. Almost 3 hours of a nearly content free parade of ridiculous fashions. And goodness, are the fashions ridiculous. It boggles my mind that grown women would swoon after a bag in gaudy, primary colors -- something my 3-year-old would get excited about -- so what that it's Louis Vuitton.

Well, there is a plot, of course. But the story is rather predictable. So much so that at some point I was for a second confused if I slept through "Sex and the City" and was now seeing "Pride and Prejudice", which I was planning to watch on PBS Masterpiece Theater later that night. Because the story of Carrie and Mr. Big's circuitous courtship (if it can be called that) is so Jane Austen'esque. It's full of tropes that were launched into being by Jane Austin... or at least made popular by her. We already know that the hero and the heroine will get together in the end -- the only suspense is how they will get there; what kind of scheming it will take for them to reconcile after a series of misunderstandings and hurt feelings. Just like Elizabeth Bennet and Darcy. The similarity between Jane Austen's heroines and those of "Sex and the City" is that the fashions are dreadful in both cases; only in "Pride and Prejudice" is the other polar opposite: its heroines look like they live in their nightgowns day and night.

But the women's friendship, and how they rally around Carrie during the darkest time of her life, and nurse her back into sanity -- that was sweet.

I knew this first-hand for decades

... but it's always good to hear an authority say it. An authority on humor, no less. And British! Aren't British supposed to be foremost experts on humor. It is thus with a huge sense of validation that I present this news:

From this article on msnbc.com:

The president of the humor society, British sociologist Christie Davies, offered insights Tuesday on the state of humor in today's world.

Among other things, he said, jokes in eastern Europe were a lot better when the communists ran the show.

"Once you have a democracy with free speech, you have fewer jokes," said Davies, an emeritus professor at the University of Reading, in England. "Jokes, in many ways, are a way of getting around restrictions on what you can say. That was a very important factor in eastern Europe."

From itch to Immanuel

The Itch: Its mysterious power may be a clue to a new theory about brains and bodies (New Yorker) is one freaky article. You might not think of itch as a Job-like misfortune, but in the cases featured in the article, it is. Those cases are almost biblical in their bizareness, too. :-) There's a woman whose head itched so persistently and maddeningly that one night, while asleep, she scratched right through her skull and into her brain. Another guy died from an itch on his neck because he scratched into his carotid artery.

Does perception originate in nerve endings, or in the brain itself?

What's worse, the cause of the woman's itch was not any problem her skin; in fact, the nerves in the itchy spot were 96% dead, so they could not have possibly conveyed itch signals to her brain. Rather, a neurologist thought that "the itch system in M's brain had gone haywire, running on a loop all its own."

[This speculation challenges] what neuroscientists call 'the naïve view,' and it is the view that most people, in or out of medicine, still have. We're inclined to think that people normally perceive things in the world directly. We believe that the hardness of a rock, the coldness of an ice cube, the itchiness of a sweater are picked up by our nerve endings, transmitted through the spinal cord like a message through a wire, and decoded by the brain."

But a theory that's emerged lately considers that sensory perceptions originate in the brain itself, where it integrates, rather imperfectly, nerve signals coming from the outside world. So it is entirely possible for a brain to experience a fantom itch in a place where there's nothing to itch. It also explains the phenomenon of phantom limb. It also talks about fascinating therapies to treat pain and discomfort in phantom limbs by tricking brain into accepting contradicting information regarding the missing limb.

Things in themselves (the unknowability of)

All in all a fascinating article, but what's most amazing about it is that it takes evidence from sciences that deals with tangible things, such as biology and neuroscience, and uses it to support a realm of inquiry that's commonly thought of as metaphysical.

"In a 1710 "Treatise Concerning the Principles of Human Knowledge," the Irish philosopher George Berkeley objected to [the naive] view. We do not know the world of objects, he argued; we know only our mental ideas of objects. "Light and colours, heat and cold, extension and figures -- in a word, the things we see and feel -- what are they but so many sensations, notions, ideas?" Indeed, he concluded, the objects of the world are likely just inventions of the mind, put in there by God."

All this reminds me of Kant, with his impossibility of knowing "things in themselves". It makes me want to regret not giving "Critique of Pure Reason" proper attention when it was mandatory reading for a philosophy course I took in college. As dry as it was, I vaguely remember being intrigued by its notion that what we think are experiences of real objects are actually just our own mental structures. My thought was, "there's got to be an idea for a science fiction story somewhere in there". :-) But the idea was too abstract to even try to turn it into a story. Now, however, I have a feeling that neuroscience could provide scaffolding on which to build a story exploring the most abstract (if not to say metaphysical) aspects of our existence. That, to me, is fascinating.

Turns out, cavemen loved to sing, says an article headline on msnbc.com. How, one wonders, do the modern scientists figure out such things? This article is interesting not just in that it reveals specifics of life of prehistoric civilizations, but also that it shows how scientists reach conclusions about things as nebulous as leisure preferences of long-gone civilizations. Namely,

Ancient hunters painted the sections of their cave dwellings where singing, humming and music sounded best, a new study suggests.

Analyzing the famous, ochre-splashed cave walls of France, scientists found that the most densely painted areas were also those with the best acoustics. Humming into some bends in the wall even produced sounds mimicking the animals painted there.

They did it not just for their amusement. Cave dwellers used echolocation to map out the properties of the caves, the article says.

With only dull light available from a torch, which couldn't be carried into very narrow passages, the ancient hunters had to use their voices like sonar to explore the crooks and crannies of a newfound cave.

As an aspiring science fiction writer, I'll certainly keep this article in mind when or if I try to invent an alien civilization for a story I'm writing. It provides enough inspiring details to fill out a picture of an ancient culture.