News
My new Internet Evolution column is up: “Don’t Judge New Media by Old Rules” considers the amazing hidden media formats that have been revealed by the Internet’s loosening of formal strictures:
Isn’t it amazing that there’s always exactly 60 minutes’ worth of news everyday, and that, when transcribed, it fills exactly one newspaper?
Have you ever stopped to think how utterly fortuitous it is that every televisual story worth telling can be neatly broken into segments of exactly 22 minutes (plus commercials) or 48 minutes (ditto)? That every story that makes a good subject for a film takes somewhere between 90 minutes and two hours to tell? That all albums fit conveniently on one or sometimes two CDs, except for best-of compilations? That all books are exactly long enough to bind within a single set of covers and not so short as to allow those covers to touch in the middle?
These are all technological norms that represent technological hangovers: We now assume that certain distributors will carry a particular sort of carton, and its contents will go onto a certain kind of shelf; 10-foot-tall photography books don’t fit in those cartons, and the trucks are already fitted for those cartons, and the shelves have been screwed into the walls of the bookstores.
Don’t Judge New Media by Old Rules
This week, The Command Line podcast favored me with a stellar review from my new essay collection Content, along with readings of two of the essays: Amish for QWERTY and Science Fiction is the Only Literature People Care Enough About to Steal on the Internet.
Link
MP3 link
Austin “Soon I Will Be Invincible” Grossman’s written a fantastic review of my young adult novel Little Brother for this weekend’s New York Times book review section. Incidentally, the book went into a fifth hardcover printing last week, and is going back for a sixth printing next week because so many orders came in between the fifth printing being set up and it being delivered!
“Little Brother” is a terrific read, but it also claims a place in the tradition of polemical science-fiction novels like “Nineteen Eighty-Four” and “Fahrenheit 451” (with a dash of “Mr. Smith Goes to Washington”). It owes a more immediate debt to Brian Wood and Riccardo Burchielli’s comic book series “DMZ,” about the adventures of a photojournalist in the midst of a new American civil war. …
MY favorite thing about “Little Brother” is that every page is charged with an authentic sense of the personal and ethical need for a better relationship to information technology, a visceral sense that one’s continued dignity and independence depend on it: “My technology was working for me, serving me, protecting me. It wasn’t spying on me. This is why I loved technology: if you used it right, it could give you power and privacy.”
BTW, if I’m not mistaken, there are still some signed first-edition hardcovers in stock at Bakka Books in Toronto and Borderlands in San Francisco, and both stores ship.
Nerd Activists
Love this comic book cover created by Onezumi!
The Canadian Broadcasting Corporation’s venerable Ideas programme just aired a fantastic one-hour segment on copyright called “Who Owns Ideas?” with a wide range of interviews with me, James Boyle, Steve Page from BNL, Siva Vaidhyanathan, Eric Flint, Michael Geist and many others.
MP3: Who Owns Ideas?
Today, Tachyon Books and I are launching my latest book, Content: Selected Essays on Technology, Creativity, Copyright, and the Future of the Future, my very first collection of essays. In it are 28 essays about everything from copyright and DRM to the layout of phone-keypads, the fallacy of the semantic web, the nature of futurism, the necessity of privacy in a digital world, the reason to love Wikipedia, the miracle of fanfic, and many other subjects. The book sports a very fine Introduction by John Perry Barlow, and was designed by typography legend John D Berry.
I’m especially chuffed about John’s superb design, because I’m giving the whole electronic text away in the hopes of selling more printed objects, and the fact that this is one of the best-looking books I’ve ever read really makes the case for owning the p-book as well as the e-book (there’s an essay on this subject in the book, too, natch).
As with Little Brother, I’m running a donations program for this book: if you love the book and want to donate something to me for it, you can do so by buying a copy for a librarian or teacher (teachers and librarians: you can request a copy for your institution). This worked incredibly well for Little Brother: we’ve gotten hundreds of copies of that hardcover into the hands of worthy, cash-strapped institutions thanks to the generosity of my readers.
Content: Selected Essays on Technology, Creativity, Copyright, and the Future of the Future
I did a fun interview about Little Brother with the Podcrash podcast from the Bureaucrash folks:
Link, MP3 Link
My latest Locus Magazine column is live: “Macropayments” explains why I don’t have a tipjar:
Two columns back, in “Think Like a Dandelion,” I talked about the reproductive strategies employed in species where reproduction is cheap, like dandelions. Unlike humans, dandelions don’t worry about the disposition of each of their children — they only want to be sure that every opportunity for success is fulfilled, that every crack in every sidewalk has a dandelion growing out of it. It’s a damned successful strategy, for dandelions at least. You’d be hard pressed to find a lawn, no matter how carefully tended and how thoroughly poisoned, that doesn’t have a dandelion or two sprouting on it.
To concretize the metaphor: I don’t care about making sure that everyone who gets a copy of my books pays me for them — what I care about is ensuring that the everyone who would pay me decent money for a book has the opportunity to do so. I don’t want to hold 13-year-olds by the ankles and shake them until their allowance falls out of their pockets, but I do want to be sure that when their parents are thinking about a gift for them, the first thing that springs to mind is my latest $20-$25 hardcover.
Macropayments
I wrote a feature for this week’s issue of the journal Nature on “petascale” data-centers — giant data-centers used in scholarship and science, from Google to the Large Hadron Collider to the Human Genome and Thousand Genome projects to the Internet Archive. The issue is on stands now and also available free online. Yesterday, I popped into Nature’s offices in London and recorded a special podcast on the subject, too. This was one of the coolest writing assignments I’ve ever been on, pure sysadmin porn. It was worth doing just to see the the giant, Vader-cube tape-robots at CERN.
At this scale, memory has costs. It costs money — 168 million Swiss francs (US$150 million) for data management at the new Large Hadron Collider (LHC) at CERN, the European particle-physics lab near Geneva. And it also has costs that are more physical. Every watt that you put into retrieving data and calculating with them comes out in heat, whether it be on a desktop or in a data centre; in the United States, the energy used by computers has more than doubled since 2000. Once you’re conducting petacalculations on petabytes, you’re into petaheat territory. Two floors of the Sanger data centre are devoted to cooling. The top one houses the current cooling system. The one below sits waiting for the day that the centre needs to double its cooling capacity. Both are sheathed in dramatic blue glass; the scientists call the building the Ice Cube.
Blank slate
The fallow cooling floor is matched in the compute centre below (these people all use ‘compute’ as an adjective). When Butcher was tasked with building the Sanger’s data farm he decided to implement a sort of crop rotation. A quarter of the data centre — 250 square metres — is empty, waiting for the day when the centre needs to upgrade to an entirely new generation of machines. When that day comes, Butcher and his team will set up in that empty space the yet-to-be-specified systems for power, cooling and the rest of it. Once the new centre is up, they’ll be able to shift operations from the obsolete old centre in sections, dismantling and rebuilding without a service interruption, leaving a new patch of the floor fallow — in anticipation of doing it all again in a distressingly short space of time.
The first rotation may come soon. Sequencing at the Sanger, and elsewhere, is getting faster at a dizzying pace — a pace made possible by the data storage facilities that are inflating to ever greater sizes. Take the human genome: the fact that there is now a reference genome sitting in digital storage brings a new generation of sequencing hardware into its own. The crib that the reference genome provides makes the task of adding together the tens of millions of short samples those machines produce a tractable one. It is what makes the 1000 Genomes Project, which the Sanger is undertaking in concert with the Beijing Genomics Institute in China and the US National Human Genome Research Institute, possible — and with it the project’s extraordinary aim of identifying every gene-variant present in at least 1% of Earth’s population.
Big data: Welcome to the petacentre,
Podcast about Petacentres,
My Flickr photos of petacenters
Roy Trumbull (who previously recorded a free podcast of my story The Super Man and the Bugout) has just recorded another podcast, this time of my story Craphound, my first-ever professional publication. It’s a nostalgic story about aliens who come to earth for our yardsales and the humans whom they befriend. It’s the third audio adaptation so far, and it sounds great. Roy’s a terrific reader.
Craphound had wicked yard-sale karma, for a rotten, filthy alien bastard. He was
too good at panning out the single grain of gold in a raging river of
uselessness for me not to like him — respect him, anyway. But then he found the
cowboy trunk. It was two months’ rent to me and nothing but some squirrelly
alien kitsch-fetish to Craphound.
So I did the unthinkable. I violated the Code. I got into a bidding war with a
buddy. Never let them tell you that women poison friendships: in my experience,
wounds from women-fights heal quickly; fights over garbage leave nothing behind
but scorched earth.
Craphound spotted the sign — his karma, plus the goggles in his exoskeleton,
gave him the advantage when we were doing 80 kmh on some stretch of back-highway
in cottage country. He was riding shotgun while I drove, and we had the radio on
to the CBC’s summer-Saturday programming: eight weekends with eight hours of old
radio dramas: “The Shadow,” “Quiet Please,” “Tom Mix,” “The Crypt-Keeper” with
Bela Lugosi. It was hour three, and Bogey was phoning in his performance on a
radio adaptation of _The African Queen_. I had the windows of the old truck
rolled down so that I could smoke without fouling Craphound’s breather. My arm
was hanging out the window, the radio was booming, and Craphound said “Turn
around! Turn around, now, Jerry, now, turn around!”
Craphound on Internet Archive, MP3 download
See also: Super Man and the Bugout reading: what if Superman had been a nice Jewish boy from Toronto
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