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1) Mars doesn't have any life on it at all. And now, it's looking more likely that there could be bacteria living beneath the surface. 2) There would be enough of the chemical compounds we need to survive. 3) There's nothing poisonous to us on the surface. In fact, the surface is covered with perchlorates, which are highly toxic to humans, and the original Viking mission did not detect these. "It's no longer a simple matter," Robinson says. "It's possible that we could occupy, inhabit and terraform Mars. But it's probably going to take a lot longer than I described in my books."
Music copyright trials are rare, but allegations that a song copies another artist's work are common. Singers Sam Smith and Tom Petty recently reached an agreement that conferred songwriting credit to Petty on Smith's song, "Stay With Me," which resembled Petty's hit "I Won't Back Down." Other music copyright cases include Former Beatle George Harrison's 1970 solo song "My Sweet Lord" which had a melody heavy with echoes of "He's So Fine," the 1962 hit from The Chiffons. The copyright owner sued Harrison. A judge said that while the tunes were nearly identical, Harrison was guilty only of "subconscious plagiarism." Harrison would eventually pay out $587,000. Probably the most bizarre case of musical infringement was when John Fogerty was accused of stealing from John Fogerty. The Creedence Clearwater Revival frontman was sued for his 1985 solo song "The Old Man Down the Road" because his former label thought it sounded too much like the 1970 Fogerty-penned "Run Through the Jungle," a song it owned the rights to.
The Golden Age science fiction publishing market was heavily geared toward magazines and short stories. And then suddenly, there was this huge demand for tons of novels. According to Andrew Liptak, this left many science fiction authors caught in a hard place: Many had come to depend on the large number of magazines on the market that would pay them for their work, and as readership declined, so too did the places in which to publish original fiction. The result was an innovative solution: repackage a number of preexisting short stories by adding to or rewriting portions of them to work together as a single story. This has its advantages; you get more narrative "payoff" with a collection of stories that also forms a single continuous meta-story than you do with a single over-arching novel — because each story has its own conclusion, and yet the story builds towards a bigger resolution. Fix-ups are a good, representative example of the transition that the publishing industry faced at the time, and how its authors adapted. Liptak says, "It's a lesson that's well-worth looking closely at, as the entire publishing industry faces new technological challenges and disruptions from the likes of self-publishing and micro-press platforms."
For example, in The Wages of Humanity, visitors from space demand the redistribution of Earth's wealth, and explain that runaway capitalism almost destroyed their civilization. In Taking Care of Gods, the hyper-advanced aliens who, billions of years ago, engineered life on Earth descend from their spaceships; they turn out to be little old men with canes and long, white beards. "We hope that you will feel a sense of filial duty towards your creators and take us in," they say. "I doubt that any Western sci-fi writer has so thoroughly explored the theme of filial piety," writes Rothman. In another story, The Devourer, a character asks, "What is civilization? Civilization is devouring, ceaselessly eating, endlessly expanding." But you can't expand forever; perhaps it would be better, another character suggests, to establish a "self-sufficient, introspective civilization." "At the core of Liu's sensibility," concludes Rothamn, "is a philosophical interest in the problem of limits. How should we react to the inherent limitations of life? Should we push against them or acquiesce?"
In a makeshift television studio here last month, Bailey, a team of engineers, and some of boxing's heaviest hitters were working to make that thinking a little more visible—in HD, with video-game-like graphics and Matrix-like camera angles. It's one part of an ambitious multimillion-dollar effort by NBC and some of boxing's biggest names to gain an edge against popular competitors like mixed martial arts, and to draw in younger, more casual audiences who may never have thought about watching before.