GABBLER RECOMMENDS: What it takes to be a cyborg

‘”Cyborg” is a loaded and attention-grabbing term, bearing associations from sci-fi novels and Hollywood, and whether it’s an entirely accurate label for these activities is up for debate. Some commentators broaden the definition to include anyone who uses artificial devices, such as computer screens or iPhones. Others prefer to narrow it. As early as 2003, in an article entitled “Cyborg morals, cyborg values, cyborg ethics,” Kevin Warwick, the professor who pioneered the cyborg movement in the academic sphere, described ‘cyborgs’ as being only those entities formed by a “human, machine brain/nervous system coupling”—essentially “a human whose nervous system is linked to a computer.”

Cyborgian implantation activities take place outside the clinic or hospital, as a sort of parallel to standardised medical experimentation. There is a keen desire to win over public support, which might explain the mob of journalists at the Dusseldorf event, who almost outnumbered the public. Österlund is clear: “We’re not going to work on sick people. That’s up to the medical industry,” he explains. “But we’re upgrading healthy people so that they can predict health issues. That’s definitely going to be the future.”

The concept of enhancement is what distinguishes cyborgism from other medical implantation, or from the ordinary fact of having to wear corrective glasses. This is not about therapeutics or repair, but about augmenting human senses beyond the norm. Despite the distinct gap between cyborg implants and clinical medicine, Cannon does think that they could fruitfully interact. “I think that a lot of time you have people in academia who are squeamish,” he accepts. “But as a result of medicine being the only people allowed to experiment, that has bound our hands and stymied research for a really long time. Well, we’re talking about being able to choose to participate in these experiments as perfectly healthy people and really investigate what’s possible. It allows us to move with an alacrity that science and medicine cannot in its current state.”

Legally, cyborgism falls into a nebulous category, neither regulated nor forbidden by law. In the UK, because the devices have no therapeutic value, doctors who carry out implant procedures potentially open themselves to legal risks, according to one GP, Dr Zoe Norris, who says most doctors would view the procedures as being purely cosmetic and therefore landing closer to the desks of their plastic surgeon colleagues. A spokeswoman for the British Association of Aesthetic Plastic Surgeons said that the organisation isn’t aware of a plastic surgeon implanting any such device. Nurses and technicians, she said, would be sufficiently well-equipped to carry out these fairly simple procedures, with only larger devices possibly requiring a surgeon. It therefore falls to the hands of tattoo and body modification artists to conduct the procedures or, in one case I heard of, a veterinarian (the grey-suited man who implanted Michael’s magnet at the fair was a tattoo artist). The UK’s House of Commons has produced a document that sets out the legislation, health guidance, consumer law and training relating to tattooing and body piercing—without mentioning chip implants or magnets in particular. The guidelines note that “contrary to popular belief, there is no formal minimum qualification for tattooists and body piercers.”’

[Via]

[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]

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The Ugly Truth of Publishing & How BEST to Support Writers

Read it.

Author Kristen Lamb's avatarKristen Lamb's Blog

Original Image via Flickr Creative Commons, courtesy of Anurag Agnihotri Original Image via Flickr Creative Commons, courtesy of Anurag Agnihotri

Well, I figure I have one more day to drunkenly torch my platform. Sad thing is I don’t drink. I am apparently this stupid when sober 😛 . Actually I am writing this as a follow up for my rant from the day before yesterday, because knowledge is power.

Writers need this. Your friends and families need this. Readers need this. The more people get how this industry works, the more everyone can start working together for everyone’s benefit.

In my book Rise of the Machines—Human Authors in a Digital World, I go into a LOT more detail and I highly recommend you get a copy if you don’t have one. I spend the first chapters of the book explaining how the various forms of publishing work so you can make an educated decision.

All types of publishing have corresponding…

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GABBLER RECOMMENDS: How Has the MFA Changed the Contemporary Novel?

“The rise of the MFA has changed how both writers and people in general talk about creativity. The debate has shifted from whether creativity could be taught to how well it can be taught and whether it should be taught. The stakes are real: Creative writing has become a big business—it’s estimated that it currently contributes more than $200 million a year in revenue to universities in the U.S.

Whether you valorize the Romantic ideal of the lonely, humble artist or the neo-liberal belief that education can solve any problem, the MFA has become a kind of Rorschach test for how writers and critics feel about creativity, where it comes from, and how best to nurture it.

… There has to be something that makes them different, and those differences, according to the vigor and tenacity of critics’ claims, ought to be recognizable. As Mark McGurl, the author of the sweeping history of the MFA, The Program Era, writes, creative writing programs “obviously” teach writers how to become a specific “creative type.” Or as Chad Harbach has argued more recently in his popular essay “MFA vs. NYC,” “the university now rivals, if it hasn’t surpassed, New York as the economic center of the literary fiction world.” If there are indeed “two literary cultures” in Harbach’s words, we should be able to detect it.

…But when we refined our tests to look at how race factors into the results, we found the opposite to be true. We took each separate body of work—books by MFA writers and books by non-MFA writers—and compared all of the writers in each individual corpus along the metrics of diction, style, and theme we describe above. For both corpora, we expected white and non-white writers to group together in clusters, and we anticipated that non-white writers would especially group together in the MFA corpus (authors like Tayari Jones, Chieh Chieng, and Daniel Alarcon). But we found no such thing. Again, based on diction, theme, and syntax, these two groups, in both MFA and non-MFA writing, are impossible to distinguish.

So it seems to us that the MFA doesn’t merit many of the hyperbolic claims about its impact on literature. $200 million per year, after all, is a high price to pay for very little measurable impact.”

[Via]

[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]

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BookTuber Tuesday! Cataloging

 Have a book vlog video you want us to check out? Submit a link below and it could make the CIRCO blog.

[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]

all yellowB&N | Amazon | Etc.

“…the audience asked if she thought Lovegood is a vegan, with Lynch ultimately stating that she thought Lovegood would be”; When a character is further written.

lunaWhen actress Evanna Lynch, who played the wonderfully whimsical Luna Lovegood in the Harry Potter series, walked into the room, you could feel the excitement building in the crowd. “It feels like I’m on trial, damn. What’s my crime?”, the actress joked as she walked past the eager crowd. Lynch immediately appeared comfortable and approachable, setting the tone for the remainder of the session…

She explained that the environment is not the reason she made the decision to cut meat and animal products from her diet. Instead, simply put, she believes that “killing and eating animals is a betrayal of our own core humanity” and that “killing an innocent goes against our nature”. From this point, her argument looked at history, evolution and the reasons consuming meat and animal products continue to be the norm in our society. Finally, she urged the audience to “check [that their] practices align with [their] principles”.

At the end of her speech, she half-jokingly mentioned that her father warned her that she would probably be heckled and booed when speaking on this topic. This was not the case, as the crowd listened cautiously and subsequently asked insightful questions during the Q&A session.

The inevitable shift from a focus on Lynch’s beliefs on veganism to her role in the Harry Potter series came when a fan asked: “Shifting from animal fears to human fears, did you have any fears about playing that role in Harry Potter?”. The audience as well as Lynch immediately broke into laughter, and Lynch responded with saying that “there was no right way to make that transition, was there?”, well aware that the crowd was interested in hearing about her role as Lovegood.

She answered several questions regarding Lovegood and the Harry Potter series with a fan wondering if she would rather be Lovegood or act as Lovegood. Lynch stated that said she would rather act as Lovegood, as she is now in a place where she’s happy with herself. Another member of the audience asked if she thought Lovegood is a vegan, with Lynch ultimately stating that she thought Lovegood would be.

Lynch was also questioned regarding the newest addition to the Harry Potter franchise, the stage production of Harry Potter and the Cursed Child. The session finished with Lynch answering one final question about the positive impact Lovegood has on fans and readers in terms of being proud of who they are and accepting themselves. She ended the session by saying: “That lovely message of ‘I’m weird but I’m ok’, you know. I’m happy to spread that, and I’m glad she’s such an advocate.”

[Via]

 

[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]

all yellowB&N | Amazon | Etc.