Moving at light speed with a light touch, the novel mixes up a frothy cocktail of technological speculation and a wide variety of geeky in-jokes.
Publishers Weekly
Joly McFie captured video of Charlie Stross’s and my tour-stop at Brooklyn’s MakerBot this week. We were there in support of our new novel Rapture of the Nerds, and did a talk, reading and Q&A that touched on the Singularity, its precedents, its discontents, and its inherent comedy — all while 3D printers chattered in the background. And afterwards everyone got 3D printed miniatures of our heads!
We’re making our final stops of tour tomorrow — Sunday! Sunday! Sunday! — in Rochester, NY, at RIT. Tell your friends!
Cory Doctorow & Charles Stross – The Rapture of the Nerds
(Thanks, Joly!)
Why SF movies make me insane
My latest Locus column is “Why Science Fiction Movies Drive Me Nuts,” in which I propose that the reason the science in sf movies is so awful is that they’re essentially operas about technology.
The reason that SF movies command such a titanic amount of attention and money from audiences is because they are brilliantly wrought spectacles. What they lack in depth and introspection, they make up for in polish and craftsmanship. Every costume is perfect. Not one polygon is out of place. An army of musicians, the greatest in the land, have picked up horns and stringed instruments by the orchestra-load and played precisely the right music to set the blood singing, written by genius composers and edited into the soundtrack by golden-eared engineers from the top of their trade. The product is perfectly turned out, and this perfection attracts the eye and captures the mind.
But although these spectacles look like movies, what they really are is opera – stylized, larger-than-life, highly symbolic work that is not meant to be understood literally. And it makes me nuts.
How else to explain the glaring inconsistencies that sit in the center of these movies, like turds floating in the precise center of a crystal punchbowl carved out of the largest, most perfect diamond in the whole world? I mean, look at Spider-Man again, and think for a moment about the absurdity of its set-pieces.
I gave my “Coming Civil War Over General Purpose Computers” talk three times this summer: at Defcon XX, the Long Now Foundation, and Google. Here’s a video of the Google talk.
Cory Doctorow: “The Coming Civil War over General-purpose Computing”, Talks at Google
Last month, I gave a talk called “The Coming Civil War Over General Purpose Computing” at DEFCON, the Long Now, and Google. We’re going to have a transcript with the slides on Monday, but in the meantime, here’s a video of the Long Now version of the talk. Stewart Brand summarized it thus:
Doctorow framed the question this way: “Computers are everywhere. They are now something we put our whole bodies into—airplanes, cars—and something we put into our bodies—pacemakers, cochlear implants. They HAVE to be trustworthy.”
Sometimes humans are not so trustworthy, and programs may override you: “I can’t let you do that, Dave.” (Reference to the self-protective insane computer Hal in Kubrick’s film “2001.” That time the human was more trustworthy than the computer.) Who decides who can override whom?
The core issues for Doctorow come down to Human Rights versus Property Rights, Lockdown versus Certainty, and Owners versus mere Users.
Daww, that was nice of him: Randall Munroe’s made me the punchline of another XKCD!
Here’s a podcast of my recent Publishers Weekly column, Doubling Down on DRM:
I’ve just seen a letter sent to an author who has published books under Hachette’s imprints in some territories and with Tor Books and its sister companies in other territories (Tor is part of Macmillan). The letter, signed by Little, Brown’s U.K. CEO Ursula Mackenzie, explains to the author that Hachette has “acquired exclusive publication rights in our territories from you in good faith,” but warns that in other territories, Tor’s no-DRM policy “will make it difficult for the rights granted to us to be properly protected.” Hachette’s proposed solution: that the author insist Tor use DRM on these titles. “We look forward to hearing what action you propose taking.”
The letter also contains language that will apparently be included in future Hachette imprint contracts, language that would require authors to “ensure that any of his or her licensees of rights in territories not licensed under this agreement” will use DRM.
It’s hard to say what’s more shocking to me: the temerity of Hachette to attempt to dictate terms to its rivals on the use of anti-customer technology, or the evidence-free insistence that DRM has some nexus with improving the commercial fortunes of writers and their publishers. Let’s just say that Hachette has balls the size of Mars if it thinks it can dictate what other publishers do with titles in territories where it has no rights. take black American music’s rock-n-roll rhythms without permission, but DJ Danger Mouse can’t take the Beatles’ melodies from the White Album to make the illegal hiphop classic The Grey Album.
Mastering by John Taylor Williams: wryneckstudio@gmail.com
John Taylor Williams is a audiovisual and multimedia producer based in Washington, DC and the co-host of the Living Proof Brew Cast. Hear him wax poetic over a pint or two of beer by visiting livingproofbrewcast.com. In his free time he makes “Beer Jewelry” and “Odd Musical Furniture.” He often “meditates while reading cookbooks.”
You’ll recall that Tor Books (and its sister science fiction imprints of Macmillan publishers around the world) has dropped DRM on all of its titles. Hachette, one of Macmillan’s rivals in the “Big Six” pantheon of publishers, is famously pro-DRM (one Hachette author told me that her editor said that Hachette’s unbreakable policy, straight from the top, is that no books will be acquired by Hachette if there are any DRM-free editions, anywhere in the world).
My latest Publishers Weekly column reports on a leaked letter, signed by Little, Brown UK’s CEO, that has been sent to authors whose books are published by both Tor and Hachette imprints in different territories. In the letter, Hachette instructs the author to demand that Tor leave the DRM intact on the books that both publishers produce, and warns that future contracts will require that authors who sign with Hachette in one territory only use pro-DRM publishers in other territories.
It’s an astonishing combination of chutzpah and denialism:
I’ve just seen a letter sent to an author who has published books under Hachette’s imprints in some territories and with Tor Books and its sister companies in other territories (Tor is part of Macmillan). The letter, signed by Little, Brown’s U.K. CEO Ursula Mackenzie, explains to the author that Hachette has “acquired exclusive publication rights in our territories from you in good faith,” but warns that in other territories, Tor’s no-DRM policy “will make it difficult for the rights granted to us to be properly protected.” Hachette’s proposed solution: that the author insist Tor use DRM on these titles. “We look forward to hearing what action you propose taking.”
The letter also contains language that will apparently be included in future Hachette imprint contracts, language that would require authors to “ensure that any of his or her licensees of rights in territories not licensed under this agreement” will use DRM.
It’s hard to say what’s more shocking to me: the temerity of Hachette to attempt to dictate terms to its rivals on the use of anti-customer technology, or the evidence-free insistence that DRM has some nexus with improving the commercial fortunes of writers and their publishers. Let’s just say that Hachette has balls the size of Mars if it thinks it can dictate what other publishers do with titles in territories where it has no rights.
