Data from the nonprofit National UFO Reporting Center, which records UFO-related events, shows that sightings are up 51 percent so far this year compared to the same period in 2019, the Wall Street Journal reported Tuesday. The New York Post reports: Among the 5,000 sightings recorded this year, 20 percent of them occurred in April -- the height of the COVID-19 crisis and lockdown, according to the news outlet. Peter Davenport, 72, who has directed the organization since 1994, says his phone has been ringing off the hook with reports of extraterrestrial accounts. Davenport of the city of Harrington in Washington state, collects firsthand accounts through his website and by phone and has been answering 25 to 50 calls a day.

Netflix today announced its plans to turn Cixin Liu's "Three-Body Problem" trilogy into an original, English-language science fiction series. From a report: The show will be executive produced and written by David Benioff and D.B. Weiss (the "Game of Thrones" showrunners signed a multi-year deal with Netflix last year that is reportedly worth more than $200 million), along with Alexander Woo, who previously served as showrunner for "The Terror: Infamy." "The Last Jedi" director Rian Johnson and his producing partner Ram Bergman are on board as executive producers (Benioff and Weiss spent some time working on a since-abandoned Star Wars trilogy), while Liu and his American translator Ken Liu (no relation) will serve as consulting producers. "I have the greatest respect for and faith in the creative team adapting The Three-Body Problem for television audiences," said Cixin Liu in a statement. "I set out to tell a story that transcends time and the confines of nations, cultures and races; one that compels us to consider the fate of humankind as a whole. It is a great honor as an author to see this unique sci-fi concept travel and gain fandom across the globe and I am excited for new and existing fans all over the world to discover the story on Netflix."

According to Variety, the sci-fi series "Altered Carbon" has been canceled at Netflix, after airing just two seasons. From the report: The second season of the sci-fi series aired on the streaming service back in February, while the first season aired in 2018. An anime special titled "Resleeved," which was set before the events of Season 1, was released in 2019. The series was based on the novel of the same name by Richard K. Morgan. It followed the adventures of interstellar warrior Takeshi Kovacs, who was played by Joel Kinnaman in Season 1 and by Anthony Mackie in Season 2. "Altered Carbon" took place in a futuristic world where the human mind has been digitized and a person can transfer their consciousness from one body to the next. According to an individual with knowledge of the decision, the decision to cancel the show was made due to Netflix's traditional approach of cost versus viewership of a series.

An anonymous reader quotes Rolling Stone: To mark what would have been author Ray Bradbury's 100th birthday on August 22nd, the Library of Congress, the Los Angeles Public Library and libraries from across the nation have banded together for a virtual "read-a-thon" dedicated to Bradbury's Fahrenheit 451.

Actors William Shatner and Rachel Bloom, authors Susan Orlean, Marlon James and Neil Gaiman and dozens more will each introduce or read a portion of the landmark 1953 novel. "Those segments, and a few from celebrity guests, will be edited into one continuous reading of the entire book, creating four hours of thought-provoking entertainment. Some readers will record from their homes, others from their hometown," organizers of the Read-a-Thon said in a statement. The event will premiere on August 22nd at 4:30pm EST at the Ray Bradbury Read-a-Thon site. the four-hour stream will rebroadcast there until September 5th.

"Self-driving cars are bullshit," writes Cory Doctorow: I'm a science fiction writer, so I quite enjoy thinking about self-driving cars. They make for really interesting analogies about data, liability, self-determination, information security and openness... But I'm a science fiction writer and that means I can tell the difference between "thought experiments" and "real things." Alas, the same cannot be said of corporate America.

For example, according to its own IPO filings, Uber can only be profitable if it invents fully autonomous vehicles and replaces every public transit ride in the world with them. Elon Musk — a man whose "green electric car company" is only profitable thanks to the carbon credits it sells to manufacturers of the dirtiest SUVs in America, without which those planet-killing SUVs would not exist — makes the same mistake. Musk wants to abolish public transit and replace it with EVs (he says that public transit makes you sit next to strangers who might be serial killers, which tells you a lot about his view of humanity).

Now, both Uber and Musk are both wrong as a matter of simple geometry. Multiply the space occupied by all those AVs by the journeys people in cities need to make by the additional distances of those journeys if we need road for all those cars, and you run out of space... these fairy tales require so much credulity to be taken seriously that they strain even the car-addled imaginations of American automotive culture, and also rely on the irrational exuberance inspired by imaginary self-driving cars to propagate and persist.

But that exuberance is sorely misplaced. Machine learning systems have brittle and unpredictable failure modes that can be triggered by accident or deliberately. The unconstrained problem of navigating busy cities with unquantifiable human activities is insoluble with ML.

Or, at least, it's insoluble if you care about whether cars kill even more people in even less predictable ways than they do now...
Doctorow adds that a key plot point in the third book in his "Little Brother" series (coming out in October) is "subverted, lethal autonomous vehicles." But Doctorow also shares a link to his short story "Car Wars," commissioned by Deakin University to explore the sociotechnological issues around autonomous vehicle.

It begins with a high school warning parents about students performing "dangerous modifications" to their car in violation of new federal laws -- three student vehicles were already confiscated for "operating with unlicensed firmware." (And "one of those cases has been referred to the police as the student involved was a repeat offender.")

But as the school launches its random vehicle firmware audits, a developer sends a desperate message to his followers on Twitter about something even more disturbing that's happening in real-time...

According to The New York Times, a secretive task force called the Unidentified Aerial Phenomenon Task Force is expected to release new and alarming findings that may involve vehicles made of materials not of this plant. From the report: Despite Pentagon statements that it disbanded a once-covert program to investigate unidentified flying objects, the effort remains underway -- renamed and tucked inside the Office of Naval Intelligence, where officials continue to study mystifying encounters between military pilots and unidentified aerial vehicles. Pentagon officials will not discuss the program, which is not classified but deals with classified matters. Yet it appeared last month in a Senate committee report outlining spending on the nation's intelligence agencies for the coming year. The report said the program, the Unidentified Aerial Phenomenon Task Force, was "to standardize collection and reporting" on sightings of unexplained aerial vehicles, and was to report at least some of its findings to the public every six months. While retired officials involved with the effort -- including Harry Reid, the former Senate majority leader -- hope the program will seek evidence of vehicles from other worlds, its main focus is on discovering whether another nation, especially any potential adversary, is using breakout aviation technology that could threaten the United States.

Sen. Marco Rubio, R-Fla., who is the acting chairman of the Senate Select Committee on Intelligence, told a CBS affiliate in Miami this month that he was primarily concerned about reports of unidentified aircraft over U.S. military bases -- and that it was in the government's interest to find out who was responsible. He expressed concerns that China or Russia or some other adversary had made "some technological leap" that "allows them to conduct this sort of activity." Rubio said some of the unidentified aerial vehicles over U.S. bases possibly exhibited technologies not in the U.S. arsenal. But he also noted: "Maybe there is a completely, sort of, boring explanation for it. But we need to find out."

An anonymous reader quotes a report from Ars Technica: San Diego Comic-Con -- like just about every large conference, convention, and gathering in 2020 -- has had to switch to an online-only virtual format this year due to the continuing pandemic. Media companies that usually have a large presence at events like SDCC worked hard to create streaming alternative content -- but it seems they forgot to tell their copyright bots.

ViacomCBS kicked things off today with an hour-long panel showing off its slew of current and upcoming Star Trek projects: Discovery, Picard, Lower Decks, and Strange New Worlds. The panel included the cast and producers of Discovery doing a read-through of the first act of the season 2 finale, "Such Sweet Sorrow, Part 2." The "enhanced" read-through included sound effects, effects shots, and storyboard images meant to bolster the actors as they delivered lines from their living rooms and home offices. Even if the presentation didn't look like a real episode of Discovery to the home viewer, it apparently sounded close enough: after the Star Trek Universe virtual panel began viewers began to lose access to the stream. In place of the video, YouTube displayed a content ID warning reading: "Video unavailable: This video contains content from CBS CID, who has blocked it on copyright grounds." After being blacked out for about 20 minutes, the panel was restored, and the recording of the virtual panel has no gaps in playback.

A fifteen-year-old cartoon is an unlikely contender for most-watched show in America. And yet when "Avatar: The Last Airbender" arrived on Netflix, in May, it rose through the ranks to become the platform's No. 1 offering, and even now it remains a fixture in the Top Ten for the U.S. From a report: The series first ran from 2005 to 2008 on Nickelodeon, and swiftly made a name for itself as a politically resonant, emotionally sophisticated work -- one with a sprawling but meticulously plotted mythos that destined the show for cult-classic status. Last summer, after "Game of Thrones" flubbed its finale, fans and critics held up "Avatar" as a counterexample: a fantasy series that knew what it wanted to be from the beginning. Like all such stories, "Avatar" (created by Bryan Konietzko and Michael Dante DiMartino, and no relation to the James Cameron blockbuster) demands some exposition. In a world where nations are defined by their connection to one of the four elements -- water, earth, fire, and air -- maintaining the peace falls to the Avatar, the only person who can achieve mastery of them all. Just as the Fire Nation launches an attack, he vanishes.

The series begins a century later, when a twelve-year-old boy named Aang is discovered and revived by a pair of Water Tribe teen-agers -- and the Fire Nation is well on its way to global conquest. The first two episodes are largely what you'd expect: world-building punctuated by moments of whimsy. In the third, Aang returns to the temple where he was born to find the aftermath of a genocide. He is, he discovers, both the Avatar and the last of the Air Nomads. Where earlier shows might have hinted at such an atrocity for adult viewers' benefit, "Avatar" is overt, taking seriously its young audience's capacity to confront the consequences of endless war. Moral ambiguity abounds, and people from all nations see the conflict as, variously, an opportunity or a tragedy; there are Earth Kingdom citizens who have become cynical or apathetic after generations of fighting, and those from the Fire Nation who are fully capable of doing good. Aang, like the monks who raised him, is a pacifist at heart, but the series makes it clear that his is not the only way of bringing balance to the world. On the eve of his confrontation with the Fire Lord, one of his past lives -- a warrior named Kyoshi, who has killed would-be conquerors before -- counsels that "only justice will bring peace."

cold fjord writes: Sir Ian Holm, a classically trained actor celebrated for his interpretations of Shakespeare, and with an astonishing range of work in important science fiction and fantasy films, has died at age 88. Holm's depiction of King Lear was celebrated, and he brought Puck to life in "A Midsummer Night's Dream." But most people on Slashdot will remember him for a few other roles, such as Bilbo Baggins, in the "Lord of the Rings" trilogy, and two of the "Hobbit" movies. Holm also appeared in "Alien" as the android Ash, as Napoleon in "Time Bandits," and Cornelius in "The Fifth Element." Holm received a Tony Award in 1967, a Laurence Olivier Award for Best Actor in 1998, a BAFTA Award for Best Actor in a Supporting Role in 1981, and was nominated for an Academy Award for his role in Chariots of Fire. Holm received royal honors in 1989 and 1998.

As Marvel cuts staff and publishers stop selling new titles, artists, shop owners and writers worry for the future of an industry worth billions. From a report: There are no new comic books. Steve Geppi, head of Diamond Comic Distributors, which distributes nearly every comic sold in the anglophone world (or used to), announced this on 23 March, though senior industry figures already knew what was coming. The coronavirus pandemic had sunk retailers deep into the red. They couldn't pay their bills to Diamond or rent to their landlords, because they hadn't made any sales. "Product distributed by Diamond and slated for an on-sale date of 1 April or later will not be shipped to retailers until further notice," Geppi wrote. If shops can't pay Diamond, Diamond can't pay the industry's constellation of comics publishers, who then can't pay artists, writers, editors and printers, who now can't pay their rent or credit card bills -- or buy comics.

Sales of comics, graphic novels and collectibles distributed by Diamond were $529.7m in 2019 -- a huge number which suggests that a months-long gap between issues of Batman, Captain America and Spawn will stretch into tens of millions of dollars in lost revenue. (Though Diamond plans to start shipping comics to shops again on 17 May, many around the world will still be in lockdown then.) The unprecedented situation has encouraged many acts of kindness, by individuals and companies. In solidarity with the shops relying on physical sales, most publishers are not currently selling new comics digitally. And dozens of artists and writers are auctioning off books and art to benefit others; DC artist Jim Lee is sketching a superhero pinup every day for two months, selling them for thousands on eBay to benefit comics shops.

The Washington Post describes it as "the next internet." Wikipedia defines it as "a collective virtual shared space...including the sum of all virtual worlds, augmented reality, and the Internet." But it was Neal Stephenson who named it "the metaverse" in his 1992 science fiction novel Snow Crash.

Are we closer to seeing it happen? The Washington Post reports: In the past month, office culture has coalesced around video chat platforms like Zoom, while personal cultural milestones like weddings and graduations are being conducted in Nintendo's Animal Crossing: New Horizons. The Metaverse not only seems realistic — it would probably be pretty useful right about now. The Metaverse reality is still years, possibly decades, away. But Epic Games CEO Tim Sweeney has been publicly pushing for its creation, and he isn't alone in his desire to push for the Metaverse, where the online world echoes and fulfills real-world needs and activities. Constructing the virtual Internet space is Silicon Valley's macro goal, many of whom are obsessed with Neal Stephenson's 1992 book, "Snow Crash," which defined the term.

In recent years, Facebook, Google and Samsung have all made heavy investments in cloud computing and virtual reality companies in anticipation of a Metaverse... But it's Epic Games, with Fortnite, that has the most viable path forward in terms of creating the Metaverse, according to an essay by venture capitalist and former Amazon executive Matthew Ball... [The article also notes other "traits" of the metaverse in Minecraft and Roblox.] The most widely agreed core attributes of a Metaverse include always being live and persistent — with both planned and spontaneous events always occurring — while at the same time providing an experience that spans and operates across platforms and the real world. A Metaverse must also have no real cap on audience, and have its own fully functioning economy... Fortnite hasn't reached Metaverse status yet. But Fortnite as a social network and impossible-to-ignore cultural phenomenon, Ball says, provides Epic Games a key advantage for leading in the Metaverse race. Fortnite draws a massive, willing and excited audience online to engage with chaotically clashing intellectual properties... "This organic evolution can't be overemphasized," Ball writes in his essay. "If you 'declared' your intent to start a Metaverse, these parties would never embrace interoperability or entrust their IP. But Fortnite has become so popular and so unique that most counterparties have no choice but to participate... Fortnite is too valuable a platform...."

The current swarm to an online-only social and capitalist economy has only highlighted the current Internet's failings, and what the Metaverse needs to do, Ball said. Big sites like Facebook, Google and Amazon continue to dominate online activity, as do larger streaming services like YouTube and Netflix. But each location requires its own membership and has separate ecosystems. "Right now, the digital world basically operates as though every restaurant and bar you go to requires a different ID card, has a different currency, requires their own dress codes and has their own units [of service and measurement]," Ball said. "It is clear that this really advantages the biggest services. People are just sticking to the big games, really. However there's a clear argument that reducing network lock-in can really raise all boats here."

Sweeney said as much in his DICE Summit keynote speech February. If the game industry wants to reshape the Internet and move away from Silicon Valley's walled gardens, Sweeney stressed that publishers need to rethink economies in the same way email was standardized... "We need to give up our attempts to each create our own private walled gardens and private monopoly and agree to work together and recognize we're all far better off if we connect our systems and grow our social graphs together.
Neal Stephenson answered questions from Slashdot readers back in 2004.

The esteemed science fiction author, best known for movie "Arrival" that is based on his novel, on how we may never go "back to normal" -- and why that might be a good thing. From an interview on Electric Literature: EL: Do you see aspects of science fiction (your own work or others) in the coronavirus pandemic? In how it is being handled, or how it has spread?
TC: While there has been plenty of fiction written about pandemics, I think the biggest difference between those scenarios and our reality is how poorly our government has handled it. If your goal is to dramatize the threat posed by an unknown virus, there's no advantage in depicting the officials responding as incompetent, because that minimizes the threat; it leads the reader to conclude that the virus wouldn't be dangerous if competent people were on the job. A pandemic story like that would be similar to what's known as an "idiot plot," a plot that would be resolved very quickly if your protagonist weren't an idiot. What we're living through is only partly a disaster novel; it's also -- and perhaps mostly -- a grotesque political satire.

EL: This pandemic isn't science fiction, but it does feel like a dystopia. How can we understand the coronavirus as a cautionary tale? How can we combat our own personal inclinations toward the good/evil narrative, and the subsequent expectation that everything will return to normal?
TC: We need to be specific about what we mean when we talk about things returning to normal. We all want not to be quarantined, to be able to go to work and socialize and travel. But we don't want everything to go back to business as usual, because business as usual is what led us to this crisis. COVID-19 has demonstrated how much we need federally mandated paid sick leave and universal health care, so we don't want to return to a status quo that lacks those things. The current administration's response ought to serve as a cautionary tale about the dangers of electing demagogues instead of real leaders, although there's no guarantee that voters will heed it. We're at a point where things could go in some very different ways, depending on what we learn from this experience.

An anonymous reader shares a report: If you've been meaning to check out "Star Trek: Picard" or "The Good Fight," but already perhaps have one streaming subscription too many, you can check out CBS All Access for free until April 23rd in the US. Jean-Luc Picard himself (okay, Partick Stewart) revealed ViacomCBS would make it around the time of the show's finale.

schweini shares a report: Every year the world celebrates the anniversaries of masterworks and maestros. In 2020, a host of events and publications commemorated the lives of Ludwig van Beethoven, Raphael, Charles Dickens, Anne Bronte and William Wordsworth. Such milestones usually come in neat multiples of 50. The 42nd anniversary of anything is rarely observed. Yet on March 8th fans of "The Hitchhiker's Guide to the Galaxy" ("HHGTTG") paid tribute to the comedy science-fiction series, which had its radio premiere on that day in 1978 and was subsequently adapted into novels, TV series, video games and a film.

To mark the occasion, Pan Macmillan reprinted the scripts and novels in colourful new editions ("HHGTTG" was the first book published under their "Pan Original" imprint to sell more than 1m copies). The British Library will host a day of "celebrations, conversation and performance." BBC Radio 4 has aired the original episodes; Radio 4 Extra will put on a "five-hour Hitchhiker's spectacular" including archival material and specially commissioned programmes. Such is the enduring interest in Douglas Adams's story that it is due to be adapted into a new television series by Hulu, a streaming service.

An anonymous reader quotes a report from Bleeping Computer: SETI@home has announced that they will no longer be distributing new work to clients starting on March 31st as they have enough data and want to focus on completing their back-end analysis of the data. SETI@home is a distributed computing project where volunteers contribute their CPU resources to analyze radio data from the Arecibo radio telescope in Puerto Rico and the Green Bank Telescope in West Virginia for signs of extraterrestrial intelligence (SETI).

Run by the Berkeley SETI Research Center since 1999, SETI@home has been a popular project where people from all over the world have been donating their CPU resources to process small chunks of data, or "jobs," for interesting radio transmissions or anomalies. This data is then sent back to the researchers for analysis. In an announcement posted yesterday, the project stated that they will no longer send data to SETI@home clients starting on March 31st, 2020 as they have reached a "point of diminishing returns" and have analyzed all the data that they need for now. Instead, they want to focus on analyzing the back-end results in order to publish a scientific paper. SETI@Home has a list of BOINC projects on their website for those interested in donating their CPU resources.

schwit1 quotes Syfy Wire: There is, admittedly, some ambiguity about precisely how Trek's transporters work. The events of some episodes subtly contradict events in others. The closest thing to an official word we have is the Star Trek: The Next Generation Technical Manual, which states that when a person enters a transporter, they are scanned by molecular imaging scanners that convert a person into a subatomically deconstructed matter stream. That's all a fancy-pants way of saying it takes you apart, atom by atom, and converts your matter into energy. That energy can then be beamed to its destination, where it's reconstructed. According to Trek lore, we're meant to believe this is a continuous process. Despite being deconstructed and rebuilt on the other end, you never stop being "you...."

[Alternately] the fact that you are scanned, deconstructed, and rebuilt almost immediately thereafter only creates the illusion of continuity. In reality, you are killed and then something exactly like you is born, elsewhere. If the person constructed on the other end is identical to you, down to the atomic level, is there any measurable difference from it being actually you? Those are questions we can't begin to answer. What seems clear — whatever the technical manual says — is you die when you enter a transporter, however briefly.
The article also cites estimates that it would take three gigajoules of energy (about one bolt of lightning) to disassemble somebody's atoms, and 10 to the 28th power kilobytes to then hold all that information -- and 2.6 tredecillion bits of data to transmit it.

"The estimated time to transmit, using the standard 30 GHz microwave band used by communications satellites, would take 350,000 times longer than the age of the universe."

Long-time Slashdot reader sandbagger shared this report from the Hugo award-winning science fiction fanzine File 770: North Bellmore, New York fan Elyse Rosenstein, 69, died suddenly on February 20th. She had been undergoing rehabilitation after suffering a broken leg. At the time of her death, she was a retired secondary school science teacher. With Joyce Yasner, Joan Winston, Linda Deneroff and Devra Langsam, she organized the very first Star Trek convention, held in New York City in 1972. The convention was not only the very first media convention, it was also the biggest science fiction convention to date by a considerable margin...

At the time, Star Trek fans were often looked down on by many science fiction fans, who were more into books and magazines than TV shows. The pair hoped that a convention specifically geared towards Star Trek would do a lot to bring fans together. The rest, as they say, is fan history....

Elyse Rosenstein had a BS in physics and math, and an MS in physics, and taught science for more than two decades. She was a member of the New York Academy of Sciences and the Long Island Physics Teachers Association...

She was nicknamed "The Screaming Yellow Zonker" by Isaac Asimov.

A reader shares a report from Ars Technica: CBS has made the entirety of the first episode of its new series Star Trek: Picard freely and publicly available as a YouTube video. This is an opportunity for viewers curious about the show to see if Picard is worth subscribing to the network's streaming service, CBS All Access, to watch the rest of the series. The episode on YouTube is the same as the pilot episode that premiered on CBS All Access last week. The second episode of Picard began streaming on CBS All Access yesterday, and the network plans to release episodes at a weekly cadence.

CBS has not said whether it plans to make other episodes available for free on YouTube in the future, but it seems likely. The description for the video says the episode will only be available "for a limited time" and that it's presented by Geico. It does not, however, clarify how long "a limited time" is or when the video might become unavailable.

An anonymous reader quotes a report from Motherboard: On the night of December 30, Sergeant Vince Iovinella of the Morgan County Sheriff's Department in rural Colorado was on patrol when the calls started coming in about drones. "Residents began calling in reports of drones of unknown origin moving above houses and farms," Iovinella wrote in a statement obtained by Motherboard via a public records request. "The numbers would range from 4 to 10 drones in an area at a time. Some were reported to be low and at least 6 ft. long." Iovinella further reported the drones had white and red flashing lights as he and other deputies made "several attempts" to follow the drones. The drones were moving "very fast at times" but could also "sustain a hover over an area for long periods of time."

"There were many sighting's [sic] coming in and at the same time," Iovinella continued. "It is believed that there could have been up to 30 drones moving around the county if not more and appeared to be working in a search pattern across the county." This was yet another night on eastern Colorado's new drone patrol, following a slate of reports on mysterious fixed-wing drones in the area. They'd come out at night between approximately 7 to 10 p.m. The story, which was first reported by the Denver Post, got international press attention. "In all of these cases," Iovinella wrote in this statement, "it is unknown who owns the drone or what their purpose is." That's because the drones never existed. The Colorado Department of Public Safety (CDPS) "confirmed no incidents involving criminal activity, nor have investigations substantiated reports of suspicious or illegal drone activity."

"Of the 23 reports between January 6 and January 13 when the investigation was underway, 13 were determined to be 'planets, stars, or small hobbyist drones,'" reports Motherboard. "Six were commercial aircraft, and four remain unconfirmed. None of the 90 reports from November 23 onward were confirmed instances of illegal drone activity."

71-year-old science fiction author William Gibson coined the word "cyberspace" in his 1984 novel Neuromancer. 36 years later he's back with an even more dystopian future in his new novel Agency.

But in a surprisingly candid interview in the Daily Beast, Gibson says he prefers watching emerging new technologies first because "To use it is to be changed by it; you're not the same person."
"I'm not someone who works from assumptions about where technology might be going. My method of writing is exploratory about that."

That's certainly the case with Agency, Gibson's latest, a densely structured, complexly plotted novel that takes place in two separate time frames, which he refers to as "stubs," and has as one of its central characters an AI named Eunice, who is one part uploaded human consciousness and another part specialized military machine intelligence. In one stub it's 2017, a woman is in the White House, and Brexit never happened. But the threat of nuclear war nonetheless hovers over a conflict in the Middle East. In the other stub, it's 22nd century London after "the jackpot," a grim timeline of disasters that has reduced the Earth's population by 80 percent and left Britain to be ruled by "the klept," which Gibson describes as a "hereditary authoritarian government, [with its] roots in organized crime."

Given these scenarios, it's no surprise to discover that the 71-year-old Gibson's latest work was heavily influenced by the 2016 election and the ascendancy of Donald Trump to the presidency. "The book I had been imagining had been a kind of a romp," says the U.S.-born Gibson down the phone line from his long-time home in Vancouver, B.C. "But then the election happened, and I thought, 'Uh-oh, my whole sense of the present is 24 hours out of date, and that's enough to make the book I've been working on kind of meaningless.' It took me a long time [to re-think and re-write the book], and I thought the weirdness factor of reality, finding some balance -- what can I do with the existing level of weirdness, and that level kept going up. I wanted to write a book that current events wouldn't have left by the time it got out, and I think Agency works...."

"It's an interesting time for science fiction now," says Gibson, "because there are people writing contemporary fiction who are effectively writing science fiction, because the world they live in has become science fiction. Writing a contemporary novel today that doesn't involve concepts that wouldn't have been seen in science fiction 20 years ago is impossible. Unless it's an Amish novel."
The Washington Post calls Gibson's new novel "engaging, thought-provoking and delightful," while the senior editor at Medium's tech site One Zero says it's the first time Gibson "has taken direct aim at Silicon Valley, at the industry and culture that has reorganized the world -- with some of his ideas propelling it."

"The result is a blend of speculation and satire that any self-respecting denizen of the digital world should spend some time with."

And they're also publishing an exclusive excerpt from the novel.