Category Archives: book review

I am a book. I am a portal to …

Interactive data visualization for children who want to learn about the universe in the form of a book was published by Penguin Books as “I am a book. I am a portal to the universe.” was first published in 2020. As of April 2021, it has crossed the Atlantic Ocean occasioning an April 16, 2021 article by Mark Wilson for Fast Company (Note: Links have been removed),

… A collaboration between data-centric designer Stefanie Posavec and data journalist Miriam Quick, …

“The pared-back aesthetic is due to the book’s core concept. The whole book, even the endnotes and acknowledgements, is written in the first person, in the book’s own voice. [emphasis mine] It developed its own rather theatrical character as we worked on it,” says Posavec. “The book speaks directly to the reader using whatever materials it has at its disposal to communicate the wonders of our universe. In the purest sense, that means the book’s paper and binding, its typeface and its CMYK [cyan, magenta, yellow, black] ink, or, as the book would call them, its ‘superpowers.’” [emphases mine]

It’s hard to explain without actually experiencing it. Which is exactly why it’s so much fun. For instance, at one moment, the book asks you to put it on your head [emphasis mine] and take it off. That difference in weight you feel? That’s how much lighter you are on the top of a mountain than at sea level, the book explains, because of the difference in gravity at different altitudes. …

I recommend reading Wilson’s April 16, 2021 article in its entirety if you have the time as it is peppered with images, GIFs, and illustrative stories.

The “I am a book. I am a portal to the universe.” website offers more details,

“Typography and design combine thrillingly to form something that is

eye-opening in

every sense”

— Financial Times

Hello. I am a book.
But I’m also a portal to the universe.

I have 112 pages, measuring 20cm high and wide. I weigh 450g. And I have the power to show you the wonders of the world.

I’m different to any other book around today. I am not a book of infographics. I’m an informative, interactive experience, in which the data can be touched, felt and understood, with every measurement represented on a 1:1 scale. How long is an anteater’s tongue? How tiny is the DNA in your cells? How fast is gold mined? How loud is the sun? And how many stars have been born and exploded in the time you’ve taken to read this sentence?


There is a September 2020 Conversations with Data podcast: Episode 13 (hosted by Tara Kelly on Spotify) featuring Stefanie Posavec (data-centric designer) and Miriam Quick (data journalist) discussing their book.

You can find Miriam Quick’s website here and Stefanie Posavec’s website here.

I found it at the movies: a commentary on/review of “Films from the Future”

Kudos to anyone who recognized the reference to Pauline Kael (she changed film criticism forever) and her book “I Lost it at the Movies.” Of course, her book title was a bit of sexual innuendo, quite risqué for an important film critic in 1965 but appropriate for a period (the 1960s) associated with a sexual revolution. (There’s more about the 1960’s sexual revolution in the US along with mention of a prior sexual revolution in the 1920s in this Wikipedia entry.)

The title for this commentary is based on an anecdote from Dr. Andrew Maynard’s (director of the Arizona State University [ASU] Risk Innovation Lab) popular science and technology book, “Films from the Future: The Technology and Morality of Sci-Fi Movies.”

The ‘title-inspiring’ anecdote concerns Maynard’s first viewing of ‘2001: A Space Odyssey, when as a rather “bratty” 16-year-old who preferred to read science fiction, he discovered new ways of seeing and imaging the world. Maynard isn’t explicit about when he became a ‘techno nerd’ or how movies gave him an experience books couldn’t but presumably at 16 he was already gearing up for a career in the sciences. That ‘movie’ revelation received in front of a black and white television on January 1,1982 eventually led him to write, “Films from the Future.” (He has a PhD in physics which he is now applying to the field of risk innovation. For a more detailed description of Dr. Maynard and his work, there’s his ASU profile webpage and, of course, the introduction to his book.)

The book is quite timely. I don’t know how many people have noticed but science and scientific innovation is being covered more frequently in the media than it has been in many years. Science fairs and festivals are being founded on what seems to be a daily basis and you can now find science in art galleries. (Not to mention the movies and television where science topics are covered in comic book adaptations, in comedy, and in standard science fiction style.) Much of this activity is centered on what’s called ’emerging technologies’. These technologies are why people argue for what’s known as ‘blue sky’ or ‘basic’ or ‘fundamental’ science for without that science there would be no emerging technology.

Films from the Future

Isn’t reading the Table of Contents (ToC) the best way to approach a book? (From Films from the Future; Note: The formatting has been altered),

Table of Contents
Chapter One
In the Beginning 14
Beginnings 14
Welcome to the Future 16
The Power of Convergence 18
Socially Responsible Innovation 21
A Common Point of Focus 25
Spoiler Alert 26
Chapter Two
Jurassic Park: The Rise of Resurrection Biology 27
When Dinosaurs Ruled the World 27
De-Extinction 31
Could We, Should We? 36
The Butterfly Effect 39
Visions of Power 43
Chapter Three
Never Let Me Go: A Cautionary Tale of Human Cloning 46
Sins of Futures Past 46
Cloning 51
Genuinely Human? 56
Too Valuable to Fail? 62
Chapter Four
Minority Report: Predicting Criminal Intent 64
Criminal Intent 64
The “Science” of Predicting Bad Behavior 69
Criminal Brain Scans 74
Machine Learning-Based Precognition 77
Big Brother, Meet Big Data 79
Chapter Five
Limitless: Pharmaceutically-enhanced Intelligence 86
A Pill for Everything 86
The Seduction of Self-Enhancement 89
Nootropics 91
If You Could, Would You? 97
Privileged Technology 101
Our Obsession with Intelligence 105
Chapter Six
Elysium: Social Inequity in an Age of Technological
Extremes 110
The Poor Shall Inherit the Earth 110
Bioprinting Our Future Bodies 115
The Disposable Workforce 119
Living in an Automated Future 124
Chapter Seven
Ghost in the Shell: Being Human in an
Augmented Future 129
Through a Glass Darkly 129
Body Hacking 135
More than “Human”? 137
Plugged In, Hacked Out 142
Your Corporate Body 147
Chapter Eight
Ex Machina: AI and the Art of Manipulation 154
Plato’s Cave 154
The Lure of Permissionless Innovation 160
Technologies of Hubris 164
Superintelligence 169
Defining Artificial Intelligence 172
Artificial Manipulation 175
Chapter Nine
Transcendence: Welcome to the Singularity 180
Visions of the Future 180
Technological Convergence 184
Enter the Neo-Luddites 190
Techno-Terrorism 194
Exponential Extrapolation 200
Make-Believe in the Age of the Singularity 203
Chapter Ten
The Man in the White Suit: Living in a Material World 208
There’s Plenty of Room at the Bottom 208
Mastering the Material World 213
Myopically Benevolent Science 220
Never Underestimate the Status Quo 224
It’s Good to Talk 227
Chapter Eleven
Inferno: Immoral Logic in an Age of
Genetic Manipulation 231
Decoding Make-Believe 231
Weaponizing the Genome 234
Immoral Logic? 238
The Honest Broker 242
Dictating the Future 248
Chapter Twelve
The Day After Tomorrow: Riding the Wave of
Climate Change 251
Our Changing Climate 251
Fragile States 255
A Planetary “Microbiome” 258
The Rise of the Anthropocene 260
Building Resiliency 262
Geoengineering the Future 266
Chapter Thirteen
Contact: Living by More than Science Alone 272
An Awful Waste of Space 272
More than Science Alone 277
Occam’s Razor 280
What If We’re Not Alone? 283
Chapter Fourteen
Looking to the Future 288
Acknowledgments 293

The ToC gives the reader a pretty clue as to where the author is going with their book and Maynard explains how he chose his movies in his introductory chapter (from Films from the Future),

“There are some quite wonderful science fiction movies that didn’t make the cut because they didn’t fit the overarching narrative (Blade Runner and its sequel Blade Runner 2049, for instance, and the first of the Matrix trilogy). There are also movies that bombed with the critics, but were included because they ably fill a gap in the bigger story around emerging and converging technologies. Ultimately, the movies that made the cut were chosen because, together, they create an overarching narrative around emerging trends in biotechnologies, cybertechnologies, and materials-based technologies, and they illuminate a broader landscape around our evolving relationship with science and technology. And, to be honest, they are all movies that I get a kick out of watching.” (p. 17)

Jurassic Park (Chapter Two)

Dinosaurs do not interest me—they never have. Despite my profound indifference I did see the movie, Jurassic Park, when it was first released (someone talked me into going). And, I am still profoundly indifferent. Thankfully, Dr. Maynard finds meaning and a connection to current trends in biotechnology,

Jurassic Park is unabashedly a movie about dinosaurs. But it’s also a movie about greed, ambition, genetic engineering, and human folly—all rich pickings for thinking about the future, and what could possibly go wrong. (p. 28)

What really stands out with Jurassic Park, over twenty-five years later, is how it reveals a very human side of science and technology. This comes out in questions around when we should tinker with technology and when we should leave well enough alone. But there is also a narrative here that appears time and time again with the movies in this book, and that is how we get our heads around the sometimes oversized roles mega-entrepreneurs play in dictating how new tech is used, and possibly abused. These are all issues that are just as relevant now as they were in 1993, and are front and center of ensuring that the technologyenabled future we’re building is one where we want to live, and not one where we’re constantly fighting for our lives.  (pp. 30-1)

He also describes a connection to current trends in biotechnology,


In a far corner of Siberia, two Russians—Sergey Zimov and his son Nikita—are attempting to recreate the Ice Age. More precisely, their vision is to reconstruct the landscape and ecosystem of northern Siberia in the Pleistocene, a period in Earth’s history that stretches from around two and a half million years ago to eleven thousand years ago. This was a time when the environment was much colder than now, with huge glaciers and ice sheets flowing over much of the Earth’s northern hemisphere. It was also a time when humans
coexisted with animals that are long extinct, including saber-tooth cats, giant ground sloths, and woolly mammoths.

The Zimovs’ ambitions are an extreme example of “Pleistocene rewilding,” a movement to reintroduce relatively recently extinct large animals, or their close modern-day equivalents, to regions where they were once common. In the case of the Zimovs, the
father-and-son team believe that, by reconstructing the Pleistocene ecosystem in the Siberian steppes and elsewhere, they can slow down the impacts of climate change on these regions. These areas are dominated by permafrost, ground that never thaws through
the year. Permafrost ecosystems have developed and survived over millennia, but a warming global climate (a theme we’ll come back to in chapter twelve and the movie The Day After Tomorrow) threatens to catastrophically disrupt them, and as this happens, the impacts
on biodiversity could be devastating. But what gets climate scientists even more worried is potentially massive releases of trapped methane as the permafrost disappears.

Methane is a powerful greenhouse gas—some eighty times more effective at exacerbating global warming than carbon dioxide— and large-scale releases from warming permafrost could trigger catastrophic changes in climate. As a result, finding ways to keep it in the ground is important. And here the Zimovs came up with a rather unusual idea: maintaining the stability of the environment by reintroducing long-extinct species that could help prevent its destruction, even in a warmer world. It’s a wild idea, but one that has some merit.8 As a proof of concept, though, the Zimovs needed somewhere to start. And so they set out to create a park for deextinct Siberian animals: Pleistocene Park.9

Pleistocene Park is by no stretch of the imagination a modern-day Jurassic Park. The dinosaurs in Hammond’s park date back to the Mesozoic period, from around 250 million years ago to sixty-five million years ago. By comparison, the Pleistocene is relatively modern history, ending a mere eleven and a half thousand years ago. And the vision behind Pleistocene Park is not thrills, spills, and profit, but the serious use of science and technology to stabilize an increasingly unstable environment. Yet there is one thread that ties them together, and that’s using genetic engineering to reintroduce extinct species. In this case, the species in question is warm-blooded and furry: the woolly mammoth.

The idea of de-extinction, or bringing back species from extinction (it’s even called “resurrection biology” in some circles), has been around for a while. It’s a controversial idea, and it raises a lot of tough ethical questions. But proponents of de-extinction argue
that we’re losing species and ecosystems at such a rate that we can’t afford not to explore technological interventions to help stem the flow.

Early approaches to bringing species back from the dead have involved selective breeding. The idea was simple—if you have modern ancestors of a recently extinct species, selectively breeding specimens that have a higher genetic similarity to their forebears can potentially help reconstruct their genome in living animals. This approach is being used in attempts to bring back the aurochs, an ancestor of modern cattle.10 But it’s slow, and it depends on
the fragmented genome of the extinct species still surviving in its modern-day equivalents.

An alternative to selective breeding is cloning. This involves finding a viable cell, or cell nucleus, in an extinct but well-preserved animal and growing a new living clone from it. It’s definitely a more appealing route for impatient resurrection biologists, but it does mean getting your hands on intact cells from long-dead animals and devising ways to “resurrect” these, which is no mean feat. Cloning has potential when it comes to recently extinct species whose cells have been well preserved—for instance, where the whole animal has become frozen in ice. But it’s still a slow and extremely limited option.

Which is where advances in genetic engineering come in.

The technological premise of Jurassic Park is that scientists can reconstruct the genome of long-dead animals from preserved DNA fragments. It’s a compelling idea, if you think of DNA as a massively long and complex instruction set that tells a group of biological molecules how to build an animal. In principle, if we could reconstruct the genome of an extinct species, we would have the basic instruction set—the biological software—to reconstruct
individual members of it.

The bad news is that DNA-reconstruction-based de-extinction is far more complex than this. First you need intact fragments of DNA, which is not easy, as DNA degrades easily (and is pretty much impossible to obtain, as far as we know, for dinosaurs). Then you
need to be able to stitch all of your fragments together, which is akin to completing a billion-piece jigsaw puzzle without knowing what the final picture looks like. This is a Herculean task, although with breakthroughs in data manipulation and machine learning,
scientists are getting better at it. But even when you have your reconstructed genome, you need the biological “wetware”—all the stuff that’s needed to create, incubate, and nurture a new living thing, like eggs, nutrients, a safe space to grow and mature, and so on. Within all this complexity, it turns out that getting your DNA sequence right is just the beginning of translating that genetic code into a living, breathing entity. But in some cases, it might be possible.

In 2013, Sergey Zimov was introduced to the geneticist George Church at a conference on de-extinction. Church is an accomplished scientist in the field of DNA analysis and reconstruction, and a thought leader in the field of synthetic biology (which we’ll come
back to in chapter nine). It was a match made in resurrection biology heaven. Zimov wanted to populate his Pleistocene Park with mammoths, and Church thought he could see a way of
achieving this.

What resulted was an ambitious project to de-extinct the woolly mammoth. Church and others who are working on this have faced plenty of hurdles. But the technology has been advancing so fast that, as of 2017, scientists were predicting they would be able to reproduce the woolly mammoth within the next two years.

One of those hurdles was the lack of solid DNA sequences to work from. Frustratingly, although there are many instances of well preserved woolly mammoths, their DNA rarely survives being frozen for tens of thousands of years. To overcome this, Church and others
have taken a different tack: Take a modern, living relative of the mammoth, and engineer into it traits that would allow it to live on the Siberian tundra, just like its woolly ancestors.

Church’s team’s starting point has been the Asian elephant. This is their source of base DNA for their “woolly mammoth 2.0”—their starting source code, if you like. So far, they’ve identified fifty plus gene sequences they think they can play with to give their modern-day woolly mammoth the traits it would need to thrive in Pleistocene Park, including a coat of hair, smaller ears, and a constitution adapted to cold.

The next hurdle they face is how to translate the code embedded in their new woolly mammoth genome into a living, breathing animal. The most obvious route would be to impregnate a female Asian elephant with a fertilized egg containing the new code. But Asian elephants are endangered, and no one’s likely to allow such cutting edge experimentation on the precious few that are still around, so scientists are working on an artificial womb for their reinvented woolly mammoth. They’re making progress with mice and hope to crack the motherless mammoth challenge relatively soon.

It’s perhaps a stretch to call this creative approach to recreating a species (or “reanimation” as Church refers to it) “de-extinction,” as what is being formed is a new species. … (pp. 31-4)

This selection illustrates what Maynard does so very well throughout the book where he uses each film as a launching pad for a clear, readable description of relevant bits of science so you understand why the premise was likely, unlikely, or pure fantasy while linking it to contemporary practices, efforts, and issues. In the context of Jurassic Park, Maynard goes on to raise some fascinating questions such as: Should we revive animals rendered extinct (due to obsolescence or inability to adapt to new conditions) when we could develop new animals?

General thoughts

‘Films for the Future’ offers readable (to non-scientific types) science, lively writing, and the occasional ‘memorish’ anecdote. As well, Dr. Maynard raises the curtain on aspects of the scientific enterprise that most of us do not get to see.  For example, the meeting  between Sergey Zimov and George Church and how it led to new ‘de-extinction’ work’. He also describes the problems that the scientists encountered and are encountering. This is in direct contrast to how scientific work is usually presented in the news media as one glorious breakthrough after the next.

Maynard does discuss the issues of social inequality and power and ownership. For example, who owns your transplant or data? Puzzlingly, he doesn’t touch on the current environment where scientists in the US and elsewhere are encouraged/pressured to start up companies commercializing their work.

Nor is there any mention of how universities are participating in this grand business experiment often called ‘innovation’. (My March 15, 2017 posting describes an outcome for the CRISPR [gene editing system] patent fight taking place between Harvard University’s & MIT’s [Massachusetts Institute of Technology] Broad Institute vs the University of California at Berkeley and my Sept. 11, 2018 posting about an art/science exhibit in Vancouver [Canada] provides an update for round 2 of the Broad Institute vs. UC Berkeley patent fight [scroll down about 65% of the way.) *To read about how my ‘cultural blindness’ shows up here scroll down to the single asterisk at the end.*

There’s a foray through machine-learning and big data as applied to predictive policing in Maynard’s ‘Minority Report’ chapter (my November 23, 2017 posting describes Vancouver’s predictive policing initiative [no psychics involved], the first such in Canada). There’s no mention of surveillance technology, which if I recall properly was part of the future environment, both by the state and by corporations. (Mia Armstrong’s November 15, 2018 article for Slate on Chinese surveillance being exported to Venezuela provides interesting insight.)

The gaps are interesting and various. This of course points to a problem all science writers have when attempting an overview of science. (Carl Zimmer’s latest, ‘She Has Her Mother’s Laugh: The Powers, Perversions, and Potential of Heredity’] a doorstopping 574 pages, also has some gaps despite his focus on heredity,)

Maynard has worked hard to give an comprehensive overview in a remarkably compact 279 pages while developing his theme about science and the human element. In other words, science is not monolithic; it’s created by human beings and subject to all the flaws and benefits that humanity’s efforts are always subject to—scientists are people too.

The readership for ‘Films from the Future’ spans from the mildly interested science reader to someone like me who’s been writing/blogging about these topics (more or less) for about 10 years. I learned a lot reading this book.

Next time, I’m hopeful there’ll be a next time, Maynard might want to describe the parameters he’s set for his book in more detail that is possible in his chapter headings. He could have mentioned that he’s not a cinéaste so his descriptions of the movies are very much focused on the story as conveyed through words. He doesn’t mention colour palates, camera angles, or, even, cultural lenses.

Take for example, his chapter on ‘Ghost in the Shell’. Focused on the Japanese animation film and not the live action Hollywood version he talks about human enhancement and cyborgs. The Japanese have a different take on robots, inanimate objects, and, I assume, cyborgs than is found in Canada or the US or Great Britain, for that matter (according to a colleague of mine, an Englishwoman who lived in Japan for ten or more years). There’s also the chapter on the Ealing comedy, The Man in The White Suit, an English film from the 1950’s. That too has a cultural (as well as, historical) flavour but since Maynard is from England, he may take that cultural flavour for granted. ‘Never let me go’ in Chapter Two was also a UK production, albeit far more recent than the Ealing comedy and it’s interesting to consider how a UK production about cloning might differ from a US or Chinese or … production on the topic. I am hearkening back to Maynard’s anecdote about movies giving him new ways of seeing and imagining the world.

There’s a corrective. A couple of sentences in Maynard’s introductory chapter cautioning that in depth exploration of ‘cultural lenses’ was not possible without expanding the book to an unreadable size followed by a sentence in each of the two chapters that there are cultural differences.

One area where I had a significant problem was with regard to being “programmed” and having  “instinctual” behaviour,

As a species, we are embarrassingly programmed to see “different” as “threatening,” and to take instinctive action against it. It’s a trait that’s exploited in many science fiction novels and movies, including those in this book. If we want to see the rise of increasingly augmented individuals, we need to be prepared for some social strife. (p. 136)

These concepts are much debated in the social sciences and there are arguments for and against ‘instincts regarding strangers and their possible differences’. I gather Dr. Maynard hies to the ‘instinct to defend/attack’ school of thought.

One final quandary, there was no sex and I was expecting it in the Ex Machina chapter, especially now that sexbots are about to take over the world (I exaggerate). Certainly, if you’re talking about “social strife,” then sexbots would seem to be fruitful line of inquiry, especially when there’s talk of how they could benefit families (my August 29, 2018 posting). Again, there could have been a sentence explaining why Maynard focused almost exclusively in this chapter on the discussions about artificial intelligence and superintelligence.

Taken in the context of the book, these are trifling issues and shouldn’t stop you from reading Films from the Future. What Maynard has accomplished here is impressive and I hope it’s just the beginning.

Final note

Bravo Andrew! (Note: We’ve been ‘internet acquaintances/friends since the first year I started blogging. When I’m referring to him in his professional capacity, he’s Dr. Maynard and when it’s not strictly in his professional capacity, it’s Andrew. For this commentary/review I wanted to emphasize his professional status.)

If you need to see a few more samples of Andrew’s writing, there’s a Nov. 15, 2018 essay on The Conversation, Sci-fi movies are the secret weapon that could help Silicon Valley grow up and a Nov. 21, 2018 article on, The True Cost of Stain-Resistant Pants; The 1951 British comedy The Man in the White Suit anticipated our fears about nanotechnology. Enjoy.

****Added at 1700 hours on Nov. 22, 2018: You can purchase Films from the Future here.

*Nov. 23, 2018: I should have been more specific and said ‘academic scientists’. In Canada, the great percentage of scientists are academic. It’s to the point where the OECD (Organization for Economic Cooperation and Development) has noted that amongst industrialized countries, Canada has very few industrial scientists in comparison to the others.

Putting science back into pop culture and selling books

Clifford V. Johnson is very good at promoting books. I tip my hat to him; that’s an excellent talent to have, especially when you’ve written a book, in his case, it’s a graphic novel titled ‘The Dialogues: Conversations about the Nature of the Universe‘.

I first stumbled across professor (University of Southern California) and physicist Johnson and his work in this January 18, 2018 news item on,

How often do you, outside the requirements of an assignment, ponder things like the workings of a distant star, the innards of your phone camera, or the number and layout of petals on a flower? Maybe a little bit, maybe never. Too often, people regard science as sitting outside the general culture: A specialized, difficult topic carried out by somewhat strange people with arcane talents. It’s somehow not for them.

But really science is part of the wonderful tapestry of human culture, intertwined with things like art, music, theater, film and even religion. These elements of our culture help us understand and celebrate our place in the universe, navigate it and be in dialogue with it and each other. Everyone should be able to engage freely in whichever parts of the general culture they choose, from going to a show or humming a tune to talking about a new movie over dinner.

Science, though, gets portrayed as opposite to art, intuition and mystery, as though knowing in detail how that flower works somehow undermines its beauty. As a practicing physicist, I disagree. Science can enhance our appreciation of the world around us. It should be part of our general culture, accessible to all. Those “special talents” required in order to engage with and even contribute to science are present in all of us.

Here’s more his January 18, 2018 essay on The Conversation (which was the origin for the news item), Note: Links have been removed,

… in addition to being a professor, I work as a science advisor for various forms of entertainment, from blockbuster movies like the recent “Thor: Ragnarok,” or last spring’s 10-hour TV dramatization of the life and work of Albert Einstein (“Genius,” on National Geographic), to the bestselling novel “Dark Matter,” by Blake Crouch. People spend a lot of time consuming entertainment simply because they love stories like these, so it makes sense to put some science in there.

Science can actually help make storytelling more entertaining, engaging and fun – as I explain to entertainment professionals every chance I get. From their perspective, they get potentially bigger audiences. But good stories, enhanced by science, also spark valuable conversations about the subject that continue beyond the movie theater.
Science can be one of the topics woven into the entertainment we consume – via stories, settings and characters. ABC Television

Nonprofit organizations have been working hard on this mission. The Alfred P. Sloan Foundation helps fund and develop films with science content – “The Man Who Knew Infinity” (2015) and “Robot & Frank” (2012) are two examples. (The Sloan Foundation is also a funding partner of The Conversation US.)

The National Academy of Sciences set up the Science & Entertainment Exchange to help connect people from the entertainment industry to scientists. The idea is that such experts can provide Hollywood with engaging details and help with more accurate portrayals of scientists that can enhance the narratives they tell. Many of the popular Marvel movies – including “Thor” (2011), “Ant-Man” (2015) and the upcoming “Avengers: Infinity War” – have had their content strengthened in this way.

Encouragingly, a recent Pew Research Center survey in the U.S. showed that entertainment with science or related content is watched by people across “all demographic, educational and political groups,” and that overall they report positive impressions of the science ideas and scenarios contained in them.

Many years ago I realized it is hard to find books on the nonfiction science shelf that let readers see themselves as part of the conversation about science. So I envisioned an entire book of conversations about science taking place between ordinary people. While “eavesdropping” on those conversations, readers learn some science ideas, and are implicitly invited to have conversations of their own. It’s a resurrection of the dialogue form, known to the ancient Greeks, and to Galileo, as a device for exchanging ideas, but with contemporary settings: cafes, restaurants, trains and so on.

Clifford Johnson at his drafting table. Clifford V. Johnson, CC BY-ND

So over six years I taught myself the requisite artistic and other production techniques, and studied the language and craft of graphic narratives. I wrote and drew “The Dialogues: Conversations About the Nature of the Universe” as proof of concept: A new kind of nonfiction science book that can inspire more people to engage in their own conversations about science, and celebrate a spirit of plurality in everyday science participation.

I so enjoyed Johnson’s writing and appreciated how he introduced his book into the piece that I searched for more and found a three-part interview with Henry Jenkins on his Confessions of an Aca-Fan (Academic-Fan) blog. Before moving onto the interview, here’s some information about the interviewer, Henry Jenkins, (Note: Links have been removed),

Henry Jenkins is the Provost Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California. He arrived at USC in Fall 2009 after spending more than a decade as the Director of the MIT Comparative Media Studies Program and the Peter de Florez Professor of Humanities. He is the author and/or editor of seventeen books on various aspects of media and popular culture, including Textual Poachers: Television Fans and Participatory Culture, Hop on Pop: The Politics and Pleasures of Popular Culture,  From Barbie to Mortal Kombat: Gender and Computer Games, Convergence Culture: Where Old and New Media Collide, Spreadable Media: Creating Meaning and Value in a Networked Culture, and By Any Media Necessary: The New Youth Activism. He is currently editing a handbook on the civic imagination and writing a book on “comics and stuff”. He has written for Technology Review, Computer Games, Salon, and The Huffington Post.

Jenkins is the principal investigator for The Civic Imagination Project, funded by the MacArthur Foundation, to explore ways to inspire creative collaborations within communities as they work together to identify shared values and visions for the future. This project grew out of the Media, Activism, and Participatory Politics research group, also funded by MacArthur, which did case studies of innovative organizations that have been effective at getting young people involved in the political process. He is also the Chief Advisor to the Annenberg Innovation Lab. Jenkins also serves on the jury that selects the Peabody Awards, which recognizes “stories that matter” from radio, television, and the web.

He has previously worked as the principal investigator for  Project New Media Literacies (NML), a group which originated as part of the MacArthur Digital Media and Learning Initiative. Jenkins wrote a white paper on learning in a participatory culture that has become the springboard for the group’s efforts to develop and test educational materials focused on preparing students for engagement with the new media landscape. He also was the founder for the Convergence Culture Consortium, a faculty network which seeks to build bridges between academic researchers and the media industry in order to help inform the rethinking of consumer relations in an age of participatory culture.  The Consortium lives on today via the Transforming Hollywood conference, run jointly between USC and UCLA, which recently hosted its 8th event.  

While at MIT, he was one of the principal investigators for The Education Arcade, a consortium of educators and business leaders working to promote the educational use of computer and video games. Jenkins also plays a significant role as a public advocate for fans, gamers and bloggers: testifying before the U.S. Senate Commerce Committee investigation into “Marketing Violence to Youth” following the Columbine shootings; advocating for media literacy education before the Federal Communications Commission; calling for a more consumer-oriented approach to intellectual property at a closed door meeting of the governing body of the World Economic Forum; signing amicus briefs in opposition to games censorship;  regularly speaking to the press and other media about aspects of media change and popular culture; and most recently, serving as an expert witness in the legal struggle over the fan-made film, Prelude to Axanar.  He also has served as a consultant on the Amazon children’s series Lost in Oz, where he provided insights on world-building and transmedia strategies as well as new media literacy issues.

Jenkins has a B.A. in Political Science and Journalism from Georgia State University, a M.A. in Communication Studies from the University of Iowa and a PhD in Communication Arts from the University of Wisconsin-Madison.

Well, that didn’t seem so simple after all. For a somewhat more personal account of who I am, read on.

About Me

The first thing you are going to discover about me, oh reader of this blog, is that I am prolific as hell. The second is that I am also long-winded as all get out. As someone famous once said, “I would have written it shorter, but I didn’t have enough time.”

My earliest work centered on television fans – particularly science fiction fans. Part of what drew me into graduate school in media studies was a fascination with popular culture. I grew up reading Mad magazine and Famous Monsters of Filmland – and, much as my parents feared, it warped me for life. Early on, I discovered the joys of comic books and science fiction, spent time playing around with monster makeup, started writing scripts for my own Super 8 movies (The big problem was that I didn’t have access to a camera until much later), and collecting television-themed toys. By the time I went to college, I was regularly attending science fiction conventions. Through the woman who would become my wife, I discovered fan fiction. And we spent a great deal of time debating our very different ways of reading our favorite television series.

When I got to graduate school, I was struck by how impoverished the academic framework for thinking about media spectatorship was – basically, though everyone framed it differently, consumers were assumed to be passive, brainless, inarticulate, and brainwashed. None of this jelled well with my own robust experience of being a fan of popular culture. I was lucky enough to get to study under John Fiske, first at Iowa and then at the University of Wisconsin-Madison, who introduced me to the cultural studies perspective. Fiske was a key advocate of ethnographic audience research, arguing that media consumers had more tricks up their sleeves than most academic theory acknowledged.

Out of this tension between academic theory and fan experience emerged first an essay, “Star Trek Reread, Rerun, Rewritten” and then a book, Textual Poachers: Television Fans and Participatory Culture. Textual Poachers emerged at a moment when fans were still largely marginal to the way mass media was produced and consumed, and still hidden from the view of most “average consumers.” As such, the book represented a radically different way of thinking about how one might live in relation to media texts. In the book, I describe fans as “rogue readers.” What most people took from that book was my concept of “poaching,” the idea that fans construct their own culture – fan fiction, artwork, costumes, music and videos – from content appropriated from mass media, reshaping it to serve their own needs and interests. There are two other key concepts in this early work which takes on greater significance in my work today – the idea of participatory culture (which runs throughout Convergence Culture) and the idea of a moral economy (that is, the presumed ethical norms which govern the relations between media producers and consumers).

As for the interview, here’s Jenkins’ introduction to the series and a portion of part one (from Comics and Popular Science: An Interview with Clifford V. Johnson (Part One) posted on November 15, 2017),


Clifford V. Johnson is the first theoretical physicist who I have ever interviewed for my blog. Given the sharp divide that our society constructs between the sciences and the humanities, he may well be the last, but he would be the first to see this gap as tragic, a consequence of the current configuration of disciplines. Johnson, as I have discovered, is deeply committed to helping us recognize the role that science plays in everyday life, a project he pursues actively through his involvement as one of the leaders of the Los Angeles Institute for the Humanities (of which I am also a member), as a consultant on various film and television projects, and now, as the author of a graphic novel, The Dialogues, which is being released this week. We were both on a panel about contemporary graphic storytelling Tara McPherson organized for the USC Sydney Harmon Institute for Polymathic Study and we’ve continued to bat around ideas about the pedagogical potential of comics ever since.

Here’s what I wrote when I was asked to provide a blurb for his new book:

“Two superheroes walk into a natural history museum — what happens after that will have you thinking and talking for a long time to come. Clifford V. Johnson’s The Dialogues joins a select few examples of recent texts, such as Scott McCloud’s Understanding Comics, Larry Gonick’s Cartoon History of the Universe, Nick Sousanis’s Unflattening, Bryan Talbot’s Alice in Sunderland, or Joe Sacco’s Palestine, which use the affordances of graphic storytelling as pedagogical tools for changing the ways we think about the world around us. Johnson displays a solid grasp of the craft of comics, demonstrating how this medium can be used to represent different understandings of the relationship between time and space, questions central to his native field of physics. He takes advantage of the observational qualities of contemporary graphic novels to explore the place of scientific thinking in our everyday lives.”

To my many readers who care about sequential art, this is a book which should be added to your collection — Johnson makes good comics, smart comics, beautiful comics, and comics which are doing important work, all at the same time. What more do you want!

In the interviews that follows, we explore more fully what motivated this particular comics and how approaching comics as a theoretical physicist has helped him to discover some interesting formal aspects of this medium.

What do you want your readers to learn about science over the course of these exchanges? I am struck by the ways you seek to demystify aspects of the scientific process, including the role of theory, equations, and experimentation.



That participatory aspect is core, for sure. Conversations about science by random people out there in the world really do happen – I hear them a lot on the subway, or in cafes, and so I wanted to highlight those and celebrate them. So the book becomes a bit of an invitation to everyone to join in. But then I can show so many other things that typically just get left out of books about science: The ordinariness of the settings in which such conversations can take place, the variety of types of people involved, and indeed the main tools, like equations and technical diagrams, that editors usually tell you to leave out for fear of scaring away the audience. …

I looked for book reviews and found two. This first one is from Starburst Magazine, which strangely does not have the date or author listed (from the review),

The Dialogues is a series of nine conversations about science told in graphic novel format; the conversationalists are men, women, children, and amateur science buffs who all have something to say about the nature of the universe. Their discussions range from multiverse and string theory to immortality, black holes, and how it’s possible to put just a cup of rice in the pan but end up with a ton more after Mom cooks it. Johnson (who also illustrated the book) believes the graphic form is especially suited for physics because “one drawing can show what it would take many words to explain” and it’s hard to argue with his noble intentions, but despite some undoubtedly thoughtful content The Dialogues doesn’t really work. Why not? Because, even with its plethora of brightly-coloured pictures, it’s still 200+ pages of talking heads. The individual conversations might give us plenty to think about, but the absence of any genuine action (or even a sense of humour) still makes The Dialogues read like very pretty homework.

Adelmar Bultheel’s December 8, 2017 review for the European Mathematical Society acknowledges issues with the book while noting its strong points,

So what is the point of producing such a graphic novel if the reader is not properly instructed about anything? In my opinion, the true message can be found in the one or two pages of notes that follow each of the eleven conversations. If you are not into the subject that you were eavesdropping, you probably have heard words, concepts, theories, etc. that you did not understand, or you might just be curious about what exactly the two were discussing. Then you should look that up on the web, or if you want to do it properly, you should consult some literature. This is what these notes are providing: they are pointing to the proper books to consult. …

This is a most unusual book for this subject and the way this is approached is most surprising. Not only the contents is heavy stuff, it is also physically heavy to read. Some 250 pages on thick glossy paper makes it a quite heavy book to hold. You probably do not want to read this in bed or take it on a train, unless you have a table in front of you to put it on. Many subjects are mentioned, but not all are explained in detail. The reader should definitely be prepared to do some extra reading to understand things better. Since most references concern other popularising books on the subject, it may require quite a lot of extra reading. But all this hard science is happening in conversations by young enthusiastic people in casual locations and it is all wrapped up in beautiful graphics showing marvellous realistic decors.

I am fascinated by this book which I have yet to read but I did find a trailer for it (from,


Book commentaries: The Science of Orphan Black: The Official Companion and Star Trek Treknology; The Science of Star Trek from Tricorders to Warp Drive

I got more than I expected from both books (“The Science of Orphan Black: The Official Companion” by Casey Griffin and Nina Nesseth and “Star Trek Treknology; The Science of Star Trek from Tricorders to Warp Drive” by Ethan Siegel) I’m going to discuss by changing my expectations.

The Science of Orphan Black: The Official Companion

I had expected a book about the making of the series with a few insider stories about the production along with some science. Instead, I was treated to a season by season breakdown of the major scientific and related ethical issues in the fields of cloning and genetics.I don’t follow those areas exhaustively but from my inexpert perspective, the authors covered everything I could have hoped for (e.g., CRISPR/CAS9, Henrietta Lacks, etc.) in an accessible but demanding writing style  In other words, it’s a good read but it’s not a light read.

There are many, many pictures of Tatiana Maslany as one of her various clone identities in the book. Unfortunately, the images do not boast good reproduction values. This was disconcerting as it can lead a reader (yes, that was me) to false expectations (e.g., this is a picture book) concerning the contents. The boxed snippets from the scripts and explanatory notes inset into the text helped to break up some of the more heavy going material while providing additional historical/scripting/etc. perspectives. One small niggle, the script snippets weren’t always as relevant to the discussion at hand as the authors no doubt hoped.

I suggest reading both the Foreword by Cosima Herter, the series science consultant, and (although it could have done with a little editing) The Conversation between Cosima Herter and Graeme Manson (one of the producers). That’s where you’ll find that the series seems to have been incubated in Vancouver, Canada. It’s also where you’ll find out how much of Cosima Herter’s real life story is included in the Cosima clone’s life story.

The Introduction tells you how the authors met (as members of ‘the clone club’) and started working together as recappers for the series. (For anyone unfamiliar with the phenomenon or terminology, episodes of popular series are recapitulated [recapped] on one or more popular websites. These may or may not be commercial, i.e., some are fan sites.)

One of the authors, Casey Griffin, is a PhD candidate at the University of Southern California (USC) studying in the field of developmental and stem cell biology. I was not able to get much more information but did find her LinkedIn profile. The other author also has a science background. Nina Nesseth is described as a science communicator on the back cover of the book but she’s described as a staff scientist for Science North, a science centre located in Sudbury, Ontario, Canada. Her LinkedIn profile lists an honours Bachelor of Science (Biological and Medical Sciences) from Laurentian University, also located in Sudbury, Ontario.

It’s no surprise, given the authors’ educational background, that a bibliography (selected) has been included. This is something I very much appreciated. Oddly, given that Nesseth lists a graduate certificate in publishing as one of her credentials (on LinkedIn), there is no index (!?!). Unusually, the copyright page is at the back of the book instead of the front and boasts a fairly harsh copyright notice (summary: don’t copy anything, ever … unless you get written permission from ECW Press and the other copyright owners; Note: Herter is the copyright owner of her Foreword while the authors own the rest).

There are logos on the copyright page—more than I’m accustomed to seeing. Interestingly, two of them are government logos. It seems that taxpayers contributed to the publication of this book. The copyright notice seems a little facey to me since taxpayers (at least partially) subsidized the book, as well, Canadian copyright law has a concept called fair dealing (in the US, there’s something similar: fair use). In other words, if I chose, I could copy portions of the text without asking for permission if there’s no intent to profit from it and as long as I give attributions.

How, for example, could anyone profit from this?

In fact, in January 2017, Jun Wu and colleagues published their success in creating pig-human hybrids. (description of real research on chimeras on p. 98)

Or this snippet of dialogue,

[Charlotte] You’re my big sister.

[Sarah] How old are you? (p. 101)

All the quoted text is from “The Science of Orphan Black: The Official Companion” by Casey Griffin and Nina Nesseth (paperback published August 22, 2017).

On the subject of chimeras, the Canadian Broadcasting Corporation (CBC) featured a January 26, 2017 article about the pig-human chimeras on its website along with a video,

Getting back to the book, copyright silliness aside, it’s a good book for anyone interested in some of the  science and the issues associated with biotechnology, synthetic biology, genomes, gene editing technologies, chimeras, and more. I don’t think you need to have seen the series in order to appreciate the book.

Star Trek Treknology; The Science of Star Trek from Tricorders to Warp Drive

This looks and feels like a coffee table book. The images in this book are of a much higher quality than those in the ‘Orphan Black’ book. With thicker paper and extensive ink coverage lending to its glossy, attractive looks, it’s a physically heavy book. The unusually heavy use of black ink  would seem to be in service of conveying the feeling that you are exploring the far reaches of outer space.

It’s clear that “Star Trek Treknology; The Science of Star Trek from Tricorders to Warp Drive’s” author, Ethan Siegel, PhD., is a serious Star Trek and space travel fan. All of the series and movies are referenced at one time or another in the book in relationship to technology (treknology).

Unlike Siegel, while I love science fiction and Star Trek, I have never been personally interested in space travel. Regardless, Siegel did draw me in with his impressive ability to describe and explain physics-related ideas. Unfortunately, his final chapter on medical and biological ‘treknology’ is not as good. He covers a wide range of topics but no one is an expert on everything.

Siegel has a Wikipedia entry, which notes this (Note: Links have been removed),

Ethan R. Siegel (August 3, 1978, Bronx)[1] is an American theoretical astrophysicist and science writer, who studies Big Bang theory. He is a professor at Lewis & Clark College and he blogs at Starts With a Bang, on ScienceBlogs and also on since 2016.

By contrast with the ‘Orphan Black’ book, the tone is upbeat. It’s one of the reasons Siegel appreciates Star Trek in its various iterations,

As we look at the real-life science and technology behind the greatest advances anticipated by Star Trek, it’s worth remembering that the greatest legacy of the show is its message of hope. The future can be brighter and better than our past or present has ever been. It’s our continuing mission to make it so. (p. 6)

All the quoted text is from “Star Trek Treknology; The Science of Star Trek from Tricorders to Warp Drive” by Ethan Siegel (hard cover published October 15, 2017).

This book too has one of those copyright notices that fail to note you don’t need permission when it’s fair dealing to copy part of the text. While it does have an index, it’s on the anemic side and, damningly, there are neither bibliography nor reference notes of any sort. If Siegel hadn’t done such a good writing job, I might not have been so distressed.

For example, it’s frustrating for someone like me who’s been trying to get information on cortical/neural  implants and finds this heretofore unknown and intriguing tidbit in Siegel’s text,

In 2016, the very first successful cortical implant into a patient with ALS [amyotrophic lateral sclerosis] was completed, marking the very first fully implanted brain-computer interface in a human being. (p. 180)

Are we talking about the Australia team, which announced human clinical trials for their neural/cortical implant (my February 15, 2016 posting) or was it preliminary work by a team in Ohio (US) which later (?) announced a successful implant for a quadriplegic (also known as tetraplegic) patient who was then able to move hands and fingers (see my April 19, 2016 posting)? Or is it an entirely different team?

One other thing, I was a bit surprised to see no mention of quantum or neuromorphic computing in the chapter on computing. I don’t believe either was part of the Star Trek universe but they (neuromorphic and quantum computing) are important developments and Siegel makes a point, on at least a few occasions, of contrasting present day research with what was and wasn’t ‘predicted’ by Star Trek.

As for the ‘predictions’, there’s a longstanding interplay between storytellers and science and sometimes it can be a little hard to figure out which came first. I think Siegel might have emphasized that give and take a bit more.

Regardless of my nitpicking, Siegel is a good writer and managed to put an astonishing amount of ‘educational’ material into a lively and engaging book. That is not easy.

Final thoughts

I enjoyed both books and am very excited to see grounded science being presented along with the fictional stories of both universes (Star Trek and Orphan Black).

Yes, both books have their shortcomings (harsh copyright notices, no index, no bibliography, no reference notes, etc.) but in the main they offer adults who are sufficiently motivated a wealth of current scientific and technical information along with some elucidation of ethical issues.

“Innovation and its enemies” and “Science in Wonderland”: a commentary on two books and a few thoughts about fish (1 of 2)

There’s more than one way to approach the introduction of emerging technologies and sciences to ‘the public’. Calestous Juma in his 2016 book, ”Innovation and Its Enemies; Why People Resist New Technologies” takes a direct approach, as can be seen from the title while Melanie Keene’s 2015 book, “Science in Wonderland; The Scientific Fairy Tales of Victorian Britain” presents a more fantastical one. The fish in the headline tie together, thematically and tenuously, both books with a real life situation.

Innovation and Its Enemies

Calestous Juma, the author of “Innovation and Its Enemies” has impressive credentials,

  • Professor of the Practice of International Development,
  • Director of the Science, Technology, and Globalization Project at Harvard Kennedy School’s Better Science and International Affairs,
  • Founding Director of the African Centre for Technology Studies in Nairobi (Kenya),
  • Fellow of the Royal Society of London, and
  • Foreign Associate of the US National Academy of Sciences.

Even better, Juma is an excellent storyteller perhaps too much so for a book which presents a series of science and technology adoption case histories. (Given the range of historical time periods, geography, and the innovations themselves, he always has to stop short.)  The breadth is breathtaking and Juma manages with aplomb. For example, the innovations covered include: coffee, electricity, mechanical refrigeration, margarine, recorded sound, farm mechanization, and the printing press. He also covers two recently emerging technologies/innovations: transgenic crops and AquAdvantage salmon (more about the salmon later).

Juma provides an analysis of the various ways in which the public and institutions panic over innovation and goes on to offer solutions. He also injects a subtle note of humour from time to time. Here’s how Juma describes various countries’ response to risks and benefits,

In the United States products are safe until proven risky.

In France products are risky until proven safe.

In the United Kingdom products are risky even when proven safe.

In India products are safe when proven risky.

In Canada products are neither safe nor risky.

In Japan products are either safe or risky.

In Brazil products are both safe and risky.

In sub-Saharan Africa products are risky even if they do not exist. (pp. 4-5)

To Calestous Juma, thank you for mentioning Canada and for so aptly describing the quintessentially Canadian approach to not just products and innovation but to life itself, ‘we just don’t know; it could be this or it could be that or it could be something entirely different; we just don’t know and probably will never know.’.

One of the aspects that I most appreciated in this book was the broadening of the geographical perspective on innovation and emerging technologies to include the Middle East, China, and other regions/countries. As I’ve  noted in past postings, much of the discussion here in Canada is Eurocentric and/or UScentric. For example, the Council of Canadian Academies which conducts assessments of various science questions at the request of Canadian and regional governments routinely fills the ‘international’ slot(s) for their expert panels with academics from Europe (mostly Great Britain) and/or the US (or sometimes from Australia and/or New Zealand).

A good example of Juma’s expanded perspective on emerging technology is offered in Art Carden’s July 7, 2017 book review for (Note: A link has been removed),

In the chapter on coffee, Juma discusses how Middle Eastern and European societies resisted the beverage and, in particular, worked to shut down coffeehouses. Islamic jurists debated whether the kick from coffee is the same as intoxication and therefore something to be prohibited. Appealing to “the principle of original permissibility — al-ibaha, al-asliya — under which products were considered acceptable until expressly outlawed,” the fifteenth-century jurist Muhamad al-Dhabani issued several fatwas in support of keeping coffee legal.

This wasn’t the last word on coffee, which was banned and permitted and banned and permitted and banned and permitted in various places over time. Some rulers were skeptical of coffee because it was brewed and consumed in public coffeehouses — places where people could indulge in vices like gambling and tobacco use or perhaps exchange unorthodox ideas that were a threat to their power. It seems absurd in retrospect, but political control of all things coffee is no laughing matter.

The bans extended to Europe, where coffee threatened beverages like tea, wine, and beer. Predictably, and all in the name of public safety (of course!), European governments with the counsel of experts like brewers, vintners, and the British East India Tea Company regulated coffee importation and consumption. The list of affected interest groups is long, as is the list of meddlesome governments. Charles II of England would issue A Proclamation for the Suppression of Coffee Houses in 1675. Sweden prohibited coffee imports on five separate occasions between 1756 and 1817. In the late seventeenth century, France required that all coffee be imported through Marseilles so that it could be more easily monopolized and taxed.

Carden who teaches economics at Stanford University (California, US) focuses on issues of individual liberty and the rule of law with regards to innovation. I can appreciate the need to focus tightly when you have a limited word count but Carden could have a spared a few words to do more justice to Juma’s comprehensive and focused work.

At the risk of being accused of the fault I’ve attributed to Carden, I must mention the printing press chapter. While it was good to see a history of the printing press and attendant social upheavals noting its impact and discovery in regions other than Europe; it was shocking to someone educated in Canada to find Marshall McLuhan entirely ignored. Even now, I believe it’s virtually impossible to discuss the printing press as a technology, in Canada anyway, without mentioning our ‘communications god’ Marshall McLuhan and his 1962 book, The Gutenberg Galaxy.

Getting back to Juma’s book, his breadth and depth of knowledge, history, and geography is packaged in a relatively succinct 316 pp. As a writer, I admire his ability to distill the salient points and to devote chapters on two emerging technologies. It’s notoriously difficult to write about a currently emerging technology and Juma even managed to include a reference published only months (in early 2016) before “Innovation and its enemires” was published in July 2016.

Irrespective of Marshall McLuhan, I feel there are a few flaws. The book is intended for policy makers and industry (lobbyists, anyone?), he reaffirms (in academia, industry, government) a tendency toward a top-down approach to eliminating resistance. From Juma’s perspective, there needs to be better science education because no one who is properly informed should have any objections to an emerging/new technology. Juma never considers the possibility that resistance to a new technology might be a reasonable response. As well, while there was some mention of corporate resistance to new technologies which might threaten profits and revenue, Juma didn’t spare any comments about how corporate sovereignty and/or intellectual property issues are used to stifle innovation and quite successfully, by the way.

My concerns aside, testimony to the book’s worth is Carden’s review almost a year after publication. As well, Sir Peter Gluckman, Chief Science Advisor to the federal government of New Zealand, mentions Juma’s book in his January 16, 2017 talk, Science Advice in a Troubled World, for the Canadian Science Policy Centre.

Science in Wonderland

Melanie Keene’s 2015 book, “Science in Wonderland; The scientific fairy tales of Victorian Britain” provides an overview of the fashion for writing and reading scientific and mathematical fairy tales and, inadvertently, provides an overview of a public education programme,

A fairy queen (Victoria) sat on the throne of Victoria’s Britain, and she presided over a fairy tale age. The nineteenth century witnessed an unprecedented interest in fairies and in their tales, as they were used as an enchanted mirror in which to reflection question, and distort contemporary society.30  …  Fairies could be found disporting themselves thought the century on stage and page, in picture and print, from local haunts to global transports. There were myriad ways in which authors, painters, illustrators, advertisers, pantomime performers, singers, and more, capture this contemporary enthusiasm and engaged with fairyland and folklore; books, exhibitions, and images for children were one of the most significant. (p. 13)

… Anthropologists even made fairies the subject of scientific analysis, as ‘fairyology’ determined whether fairies should be part of natural history or part of supernatural lore; just on aspect of the revival of interest in folklore. Was there a tribe of fairy creatures somewhere out thee waiting to be discovered, across the globe of in the fossil record? Were fairies some kind of folks memory of any extinct race? (p. 14)

Scientific engagements with fairyland was widespread, and not just as an attractive means of packaging new facts for Victorian children.42 … The fairy tales of science had an important role to play in conceiving of new scientific disciplines; in celebrating new discoveries; in criticizing lofty ambitions; in inculcating habits of mind and body; in inspiring wonder; in positing future directions; and in the consideration of what the sciences were, and should be. A close reading of these tales provides a more sophisticated understanding of the content and status of the Victorian sciences; they give insights into what these new scientific disciplines were trying to do; how they were trying to cement a certain place in the world; and how they hoped to recruit and train new participants. (p. 18)

Segue: Should you be inclined to believe that society has moved on from fairies; it is possible to become a certified fairyologist (check out the website).

“Science in Wonderland,” the title being a reference to Lewis Carroll’s Alice, was marketed quite differently than “innovation and its enemies”. There is no description of the author, as is the protocol in academic tomes, so here’s more from her webpage on the University of Cambridge (Homerton College) website,

Fellow, Graduate Tutor, Director of Studies for History and Philosophy of Science

Getting back to Keene’s book, she makes the point that the fairy tales were based on science and integrated scientific terminology in imaginative ways although some books with more success than other others. Topics ranged from paleontology, botany, and astronomy to microscopy and more.

This book provides a contrast to Juma’s direct focus on policy makers with its overview of the fairy narratives. Keene is primarily interested in children but her book casts a wider net  “… they give insights into what these new scientific disciplines were trying to do; how they were trying to cement a certain place in the world; and how they hoped to recruit and train new participants.”

In a sense both authors are describing how technologies are introduced and integrated into society. Keene provides a view that must seem almost halcyon for many contemporary innovation enthusiasts. As her topic area is children’s literature any resistance she notes is primarily literary invoking a debate about whether or not science was killing imagination and whimsy.

It would probably help if you’d taken a course in children’s literature of the 19th century before reading Keene’s book is written . Even if you haven’t taken a course, it’s still quite accessible, although I was left wondering about ‘Alice in Wonderland’ and its relationship to mathematics (see Melanie Bayley’s December 16, 2009 story for the New Scientist for a detailed rundown).

As an added bonus, fairy tale illustrations are included throughout the book along with a section of higher quality reproductions.

One of the unexpected delights of Keene’s book was the section on L. Frank Baum and his electricity fairy tale, “The Master Key.” She stretches to include “The Wizard of Oz,” which doesn’t really fit but I can’t see how she could avoid mentioning Baum’s most famous creation. There’s also a surprising (to me) focus on water, which when it’s paired with the interest in microscopy makes sense. Keene isn’t the only one who has to stretch to make things fit into her narrative and so from water I move onto fish bringing me back to one of Juma’s emerging technologies

Part 2: Fish and final comments

Book announcement: Nanotechnology: The Future is Tiny

The book has a pretty cover (carbon nanotubes in the left corner, nanoparticles? next, and a circuit board to complete the image),


The book, written by Michael Berger, publisher of the Nanowerk website, was announced in an Aug. 31, 2016 Nanowerk Spotlight article (Note: Links have been removed),

“Nanotechnology: The Future is Tiny” puts a spotlight on some of the scientists who are pushing the boundaries of technology and it gives examples of their work and how they are advancing knowledge one little step at a time.

Written by Nanowerk’s Michael Berger, this book is a collection of essays about researchers involved in all facets of nanotechnologies. Nanoscience and nanotechnology research are truly multidisciplinary and international efforts, covering a wide range of scientific disciplines such as medicine, materials sciences, chemistry, biology and biotechnology, physics and electronics.

Here’s more about the book before I comment on the marketing (from the Nanotechnology: The Future is Tiny webpage on the Royal Society of Chemistry’s website),

Nanotechnology: The Future is Tiny introduces 176 different research projects from around the world that are exploring the different areas of nanotechnologies. Using interviews and descriptions of the projects, the collection of essays provides a unique commentary on the current status of the field. From flexible electronics that you can wear to nanomaterials used for cancer diagnostics and therapeutics, the book gives a new perspective on the current work into developing new nanotechnologies. Each chapter delves into a specific area of nanotechnology research including graphene, energy storage, electronics, 3D printing, nanomedicine, nanorobotics as well as environmental implications.

Through the scientists’ own words, the book gives a personal perspective on how nanotechnologies are created and developed, and an exclusive look at how today’s research will create tomorrow’s products and applications. This book will appeal to anyone who has an interest in the research and future of nanotechnology.

Publication Details
Print publication date: 30 Aug 2016
Copyright: 2016
Print ISBN: 978-1-78262-526-1
PDF eISBN: 978-1-78262-887-3
EPUB eISBN: 978-1-78262-888-0

According to Berger’s description of his book (from the Aug. 31, 2016 Nanowerk Spotlight article),

Some stories are more like an introduction to nanotechnology, some are about understanding current developments, and some are advanced technical discussions of leading edge research. Reading this book will shatter the monolithic term “nanotechnology” into the myriad of facets that it really is.

Berger has taken on a very challenging task for a writer. It’s very difficult to produce a book that will satisfy the range of audiences described. Appealing to a different audience in each chapter is probably the only way to approach the task.  I think the book may prove especially useful for someone who’s more of a beginner or intermediate because it lets you find your level and as you grow in confidence you can approach more challenging chapters. The mystery is which chapters are for beginner/intermediates?

A rather interesting marketing strategy has been adopted, which has direct bearing on this mystery. The publisher, the Royal Society of Chemistry (RSC), has made some material available for free (sort of). There is no direct charge for the Front Matter, the Preface, the Table of Contents, or Chapter 1: Generating Energy Becomes Personal but you do need registration to access the materials. Plus, I believe they’re having a problem of some kind as the same information was accessed each time I clicked whether it was on the Front Matter, the Preface, or the Table of Contents. As for Chapter 1, you will get an abstract only.

You can purchase chapters individually or buy the hardback version of the book for £66.99 or the full ebook (EPUB) version for £200.97. Chapter 2: No More Rigid Boxes—Fully Flexible and Transparent Electronics (PDF) is available for £28.00. The pricing seems designed to encourage hardback purchases. It seems anyone who only wants one chapter is going to have guess as to whether it was written for an expert, a beginner, or someone in between.

Depending on your circumstances, taking a chance may be worth it. Based on the Nanowerk Spotlight articles, Berger writes with clarity and understanding of his subject matter. I’ve found value even in some of his more challenging pieces.

Oscar of Between: a commentary

Whether it’s a piece of visual art, a musical performance, a dance performance, a theatrical performance, or a work of literature, material which comes from the soul deserves a degree of vulnerability and a willingness to confront the self from its reviewer.

Written by Betsy Warland, ‘Oscar of Between: A Memoir of Identity and Ideas’ seems as much a geography as it is a memoir.  Given that ‘in’ prefaces the word ‘between’ almost always the title ‘Oscar of Between’ draws attention to itself . The ‘of’  calls to mind naming conventions where geography (or place) play a role, Catherine of Russia, Henri IV of France, the Earl of Essex, and so on. Like Oscar, Catherine and her ilk also have a given name. In any event, the title seems to be notice that the author is staking a claim on her territory, a place called ‘between’. The allusion to geography doesn’t stop there, throughout the memoir there are  diary-like entries which include dates and places. The contrast between concrete locations such as Vancouver, Iowa, Berlin, etc. and the imaginary location ‘between’ is dislocating and there is more to come.

Oscar/Betsy maps a number of themes including but not limited to androgyny, camouflage, art and lies, war and violence, and recognition for one’s work.

Oscar brings to the forefront a disconcerting and delicately handled discussion about sexual identity where one is neither/nor. She is a lesbian who’s had a son but is frequently identified by others as a man (in part due to flat chest from a double mastectomy). What does it mean to be androgynous or perceived to be androgynous? There is no answer as this memoir is an exercise in geography, that is, exploration and naming followed by more exploration.

The war and camouflage themes make their appearances early on. Of course, war is part of the author’s name, Warland, and, as it turns out, a visit to one of the Imperial War Museum’s 2007 exhibitions in London inspires Oscar’s interest in camouflage and one of themes for this memoir.

While zoological and botanical camouflage occur in nature, Oscar’s focus is on military camouflage some of which has been designed by artists bringing thoughts of art and lies. (Before moving further with that, it bears noting camouflage, a form of deception, is about ‘seeing without being seen’, a description of sorts for the artistic process.)

Getting back to lies, early on in the book there’s a quote from the most famous literary Oscar in the English language, Oscar Wilde,

The final revelation is that lying, the telling of beautiful untrue things, is the proper aim of art. (p. 21)

A reference to her own then unfinished essay, “Narrative and the lie,” is made on the previous page and when taken in conjunction with the quote appearing shortly after the question arises is anything in this memoir true? What is the lie or where are the lies?

It’s possible there are some factual lies in this memoir but the little I do know about the author that was mentioned in this work was factually correct.

There is other ways for a writer to lie. In one’s pursuit of the ‘truth’ there are many inchoate revelations that can only be inadequately put into words and sentences. In short, by trying to pin down the inchoate with words, you’re left with a partial truth at best.

Further, efforts to get the complete truth on the page can render it incomprehensible. (As a technical writer I once wrote up a process precisely and in complete detail then asked someone else on the team to read it. After, the other technical writer looked me and said something like this, “I didn’t understand anything.” I went back and edited out most of the detail so the description was no longer as accurate or complete but hopefully more helpful to the users.) There are lies of omission and commission and sometimes writers lie both ways.

In keeping with the military camouflage motif, Oscar’s foray into war and violence makes unheralded and unexpected appearances throughout much of the narrative which ranges from spare poetic lines and imagery to a denser style of text seeming to reflect an interplay between silence and communication and between feelings and ideas.

Throughout the work there is an emphasis on observation and questioning over explanations and experiential descriptions. Certainly, that’s how Oscar treats the issue of recognition. There are no recriminations or rants about why an artist with Warland’s body of work is not included in certain conferences and, until relatively recently, has never been awarded a Canada Council grant.

Ironic that a writer who wishes to see rather than be seen wants recognition. (The desire to see without being seen is true of all writers  who must always hold some part of themselves in reserve so they may observe the action for future reference.)

There are contradictions and ironies throughout ‘Oscar of Between’ some of which results in a kind of wry humour. There is also a sense of a distanced compassion perhaps most strongly conveyed by the pauses or silences (the white space between the lines) in the sections with sparse text. It’s those things which don’t fit so well, the descriptions of societal violence which give this memoir it’s dynamism.

For a memoir concerned with lies, camouflage, war and violence, and more, it is strangely contemplative. I do recommend reading it but be prepared to go down some unexpected byways and for a haunting experience which may end when you have finished reading.

Other reviews and commentaries

March 29, 2016 review by Julie R. Enszer for

April 18, 2016 review by Julie R. Enzer for Gay (not identical to her March 2016 review for Lambda)

April 20, 2016 review by Maree for

More Oscar from Betsy

Betsy Warland is hosting an Oscar’s Salon on her website where she invites other artists and writers to ruminate on ‘Oscar of Between’ (keep scrolling down to get to individual entries).

Full disclosure: I received a review copy of the memoir and was taken out to lunch.

Science, Sir Arthur Conan Doyle, and Sherlock Holmes

GrrlScientist (Guardian science blogs) has written a review of a Sherlock Holmes book published last year in her Jan. 22, 2014 posting (Note: Links have been removed),

Breathless with anticipation, I breezed through a fun little treatise by James O’Brien, The Scientific Sherlock Holmes: Cracking the Case with Science and Forensics [Oxford University Press, 2013; …]. This book is an absorbing and scholarly exploration of the history of the science and forensics described in the Sherlock Holmes stories, which were written more than 100 years ago by Scottish physician and writer, Sir Arthur Conan Doyle.

Written by an avid “Sherlockian” and emeritus chemistry professor from Missouri State University, this book shows that the fictional Sherlock Holmes characters, their stories and their crime-solving methods are all based in reality. …


I particularly enjoyed the history of using fingerprints to identify individuals, how fingerprint analysis became a science and how this new science inspired and informed the development of searchable databases containing millions of individual fingerprints. According to the author, this database provided investigators with the evidence — sometimes within seconds — necessary to resolve cases that had lingered for many years. Professor O’Brien also places fingerprint technology into its historical context, mentioning that fingerprints were recognised as unique identifiers as early as 3000 BC by the ancient Chinese and by the Babylonians in 2000 BC. …

The chapter on chemistry — Holmes’ first love — was, of course, quite good. Amongst the topics covered, the author examines the reference materials that were available during Holmes’s lifetime to specifically address the accusation by chemist and science fiction writer Isaac Asimov that Holmes was “a blundering chemist”. The author concludes that Holmes was neither as bad as Asimov argued, nor as good as originally claimed by Dr Watson, his crime-solving colleague …

While GrrlScientist enjoyed the book she does note this,

Overall, I thought this book was more heavily focused upon exploring the history of science and forensics than clarifying the details of Holmes’s scientific methodologies.

Matthew Hutson had this to say in his Jan. 11, 2013 book review for the Wall Street Journal,

Arthur Conan Doyle draws readers into the process of detection with what his biographer John Dickson Carr called “enigmatic clues.” Holmes signposts a piece of evidence as significant but doesn’t immediately reveal its use, leaving it as an exercise for the reader. “The creator of Sherlock Holmes invented it,” Carr wrote in 1949, “and nobody . . . has ever done it half so well.” In one of the most celebrated examples, Sherlock Holmes quizzes a client about the “curious incident of the dog in the night-time.” “The dog did nothing in the night-time,” the man says. “That was the curious incident,” remarks Holmes.

Holmes’s supreme rationality is of a piece with his interest in science. “The Scientific Sherlock Holmes,” by James O’Brien, an emeritus professor of chemistry at Missouri State University, explores the forensic methods and scientific content in the Holmes canon as well as his creator’s own scientific background. Born in 1859, Conan Doyle took to books at the encouragement of his mother. Frustrated by the rigidity of his Catholic schooling, he moved toward science. At 17, he began medical school in Edinburgh. There his mentor was Dr. Joseph Bell, a man with sharpened diagnostic abilities who would serve as a model for Holmes. In one instance, Bell gleaned that a woman who had come in with her child was from the town of Burntisland (her accent), had traveled via Iverleith Row (red clay on shoes), had another child (a too-large jacket on the one present) and worked at a linoleum factory (dermatitis on fingers).

Hutson knows a lot about Conan Doyle and, thankfully he’s not shy about sharing;. Although he does mention O’Brien’s book, he seems not all that interested in it,

Mr. O’Brien spends most of his slim book, a volume most suitable for those already fond of Sherlock and not afraid of section titles with catchy names like “Section 4.2,” exploring the various fields that Holmes draws on—principally chemistry, with a little biology and physics. We learn about the use of coal-tar derivatives and handwriting identification in both Holmes’s world and ours. Some techniques, such as fingerprinting, appeared in the stories even before they were widely adopted by real police.

His real passion seems to be about thought processes,

Another look at the cogs under the deerstalker is offered by “Mastermind: How to Think Like Sherlock Holmes,” by Maria Konnikova, a psychology graduate student at Columbia University. Following Holmes’s metaphor of the “brain attic,” she describes how Holmes stocks his attic (observation), explores it (creativity), navigates it (deduction) and maintains it (continuing education and practice). In the process, she lays out the habits of mind—both the techniques Holmes employs and the errors he avoids—that we might usefully emulate.

If you want to get a feel for how James (Jim) O’Brien, the author of ‘Scientific Sherlock Holmes: Cracking the Case with Science and Forensics’ writes,  you can check out his Jan. 25, 2013 posting about his book on the Huffington Post.

Two books: Science Ruining Everything and Nanoparticles before nanotechnology

With 20 days left of its Kickstarter campaign, the SCIENCE: Ruining Everything Since 1543 (an SMBC [Saturday Morning Breakfast Cereal] Collection) has amassed $184, 562 for a project with a goal of $20,000.  Some of the more expensive incentives have been snapped but there are still lots of choices. From the campaign page,

SMBC (short for “Saturday Morning Breakfast Cereal”) is a daily-updated comic strip about all sorts of topics. Its author, Zach Weinersmith, is a giant dork who also has many other geeky projects such as producing SMBC Theater, writing for Snowflakes, his science blog the Weinerworks, and his science-themed podcast The Weekly Weinersmith (which he co-hosts with his wife, the parasitologist Kelly Weinersmith).

So it will come as no huge surprise that this, the third SMBC printed collection, is a compendium of his finest science-related strips.

Phil Plait in a Jan. 23, 2013 article for describes the project and his involvement,

Today, Zach [Weiner] announced a new and exciting project: He’s collecting his science comics into a single compendium which he’s calling “Science: Ruining Everything Since 1543”. And it’s not just old comics; he’s also written some new ones for the book. He’s creating this book as a Kickstarter project. Give him money, and when it’s done he’ll send you the book.

And there’s more, too: He asked some well-known scientists on the web to send him a personal story about science in their lives, regaling how it’s affected them, and Zach will draw them up as a comic to put in the book. And guess who he asked? Well, the only one he told me about is me, but he assures me there are others. So I sent him an All-True Tale of Bad Astronomy Past, and he created a multi-panel comic about it.

Here’s a representative image of the artwork,

Science: Ruining Everything Since 1543. It's true. Image credit: Zach Weiner [downloaded from]

Science: Ruining Everything Since 1543. It’s true.
Image credit: Zach Weiner [downloaded from]

If you go to Phil Plait’s article , you can will find some panels from the collection or you can visit the Science: Ruining Everything campaign page to view a video presentation and learn more about the various incentives.

Meanwhile, the folks at the Nanowiki website have published their third book, Nanoparticles Before Nanotechnology. From the Nanowiki introduction page,

This year we chose the subject of Nanoparticles Before Nanotechnology simply because we were suspicious that nanoparticles are too often, in scientific and non-scientific circles, perceived as invented, while we think they should be understood as discovered.

Nanomaterials are claimed to be so new that people become scared. However, before nanotechnology, one can find nanoparticles in the works of both nature and Man, although they passed unnoticed by us until recently. The origin of nanoparticles in nature is basically i) biogenic, ii) geogenic (and also at the bio-inorganic interface), or iii) cosmogenic, while the nanoparticles produced by men come unintentionally from origins as burning wood and oil or unnoticed in crafted stuff such as cosmetics and colored glass and ceramics.

Additionally, to bring nano closer to society, following the same demystifying aims, we present a set of experiments, Hands On, in which some basics and useful nanoscale phenomena can be easily observed, such as preparing photonic crystals that look like opals, disinfecting water, or harvesting energy.

You can find many options (paper and various e-pub choices)  for getting the book if you follow the link provided previously or you can access the low res web version here as I did. Gorgeous images festoon the book and I wish they’d listed the sources or credits for them. They are truly stunning, even in low res. As for the text, I think they’ve provided a thoughtful compilation of information and organized it very well (I scanned the book quickly). I particularly appreciate having links so I can easily check out the sources for myself and I found a few things I didn’t know about, always a thrill.

In common with most emerging technology topics, knowledge about nanoparticles and other aspects of nanotechnology can change quickly as new data extends or contradicts what was previously believed. Within that context, this is one of the best resources I’ve seen and I’m thankful these folks took the time to pull this book together.