We are hosting a weekend-long hard sf micro-convention at our bookstore in Westport, NY including some discussions relevant to Project Hieroglyph. https://www.facebook.com/events/440488539313010/

The program is below:

Gregory Benford, James Cambias, Kathryn Cramer, David G. Hartwell, Elizabeth Malartre

At the Dragon Press Bookstore,

10 Champlain Avenue,

Westport NY 12993,

518-962-2346

(exit 31 off the northway, go east about four miles to the intersection of route 22 and 9N, turn north and we are immediately on the right, next to Ernie’s).

Friday May 25th 9pm

Meet and Greet social in the bookstore.

Saturday May 26:

11am noon Playing with the net up: Hard Science Fiction in the era of short attention spans, crowd-sourcing, and rapid obsolescence ( Greg Benford, James Cambias, Kathryn Cramer)

Noon-1pm (informal lunch break)

1pm Interview/discussion: Greg Benford interviews James Cambias

2pm Reading: Elizabeth Malartre

3pm-4:30 Technological optimism and pessimism; utopia and dystopia; happy endings & sad endings: what do these oppositions have to do with one another? Are they all the same thing? How are they different from one another? Group discussion.

4:45-5:30 Book signings and social time

5:30-8 Dinner break

8pm Reading: Kathryn Cramer

after 9pm: informal gathering

Sunday May 27:

11am-noon: David Hartwell interviews Gregory Benford

noon-1pm (informal lunch break)

1pm: James Cambias Reading

2pm-3:15 Invention in Science Fiction: SF is being recruited to play a more aggressive role in technological innovation. What are the opportunities and hazards of this trend? (Benford, Cambias, Cramer, Hartwell)

3:30 pm: Kathryn Cramer interviews Elizabeth Malartre

4:30 pm Greg Benford Reading

5:30-6:15 pm Book signings and social time

6:30-8:30pm Dinner break

after 8:45 informal gathering

Ed asked me to track some recent press. From the April issue of <a href="http://www.smithsonianmag.com/science-nature/Dear-Science-Fiction-Writers-Stop-Being-So-Pessimistic.html">Smithsonian Magazine</a>, and retweeted by Stephen Fry

Neal Stephenson has seen the future–and he doesn't like it. Today's science fiction, he argues, is fixated on nihilism and apocalyptic scenarios–think recent films such as The Road and TV series like "The Walking Dead." Gone are the hopeful visions prevalent in the mid-20th century. That's a problem, says Stephenson, author of modern sci-fi classics such as Snow Crash. He fears that no one will be inspired to build the next great space vessel or find a way to completely end dependence on fossil fuels when our stories about the future promise a shattered world. So, in fall 2011, Stephenson launched the Hieroglyph project to rally writers to infuse science fiction with the kind of optimism that could inspire a new generation to, as he puts it, "get big stuff done."

He got the idea at a futurist conference last year. After lamenting the slow pace of technological innovation, Stephenson was surprised when his audience leveled blame at sci-fi authors. "You're the ones who have been slacking off," said Michael Crow, president of Arizona State University and co-founder of the forward-looking think tank the Consortium for Science, Policy and Outcomes.

To be sure, 20th-century sci-fi prefigured many of today's technologies, from smart phones to MRI scanners, as you can see if you spend 30 seconds on YouTube reviewing such "Star Trek" gadgets as communicators and tricorders. Yet Stephenson argues that sci-fi's greatest contribution is showing how new technologies function in a web of social and economic systems—what authors call "worldbuilding."

Denise Caruso, a science policy researcher at Carnegie Mellon University, agrees that "science fiction helps [scientists] think about how the work they're doing might eventually turn out." It can even help them think about morality. Worldbuilding, she says, helps people anticipate how innovations might be used for good or ill in daily life.

Take Isaac Asimov's novels and short stories about robots coexisting with humans, most notably his 1950 anthology I, Robot. He wrestled with such weighty issues as whether artificial beings have legal rights and the unforeseen dilemmas that could result from programming robots with moral directives. Upon Asimov's death in 1992, the flagship journal of computer engineers credited him with demonstrating "the enormous potential of information technology" and highlighting the difficulties of maintaining "reliable control over semi-autonomous machines."

The Hieroglyph project's first concrete achievement will be a sci-fi anthology from William Morrow in 2014, full of new stories about scientists tackling big projects, from building supertowers to colonizing the moon. "We have one rule: no hackers, no hyperspace and no holocaust," Stephenson says. He and his collaborators want to avoid pessimistic thinking and magical technologies like the "hyperspace" engines common in movies like Star Wars. And, he adds, they're "trying to get away from the hackerly mentality of playing around with existing systems, versus trying to create new things."

Stephenson's greatest hope is that young engineers and scientists will absorb ideas from the stories and think, "If I start working on this right now, by the time I retire it might exist."