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Radical Evolution – Joel Garreau

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Radical Evolution

The Promise and Peril of Enhancing Our Minds, Our Bodies — and What It Means toBe Human

Joel Garreau

Genre: Science & Nature

Price: $1.99

Publish Date: May 17, 2005

Publisher: Crown/Archetype

Seller: Penguin Random House LLC


In Radical Evolution, bestselling author Joel Garreau, a reporter and editor for the Washington Post, shows us that we are at an inflection point in history. As you read this, we are engineering the next stage of human evolution. Through advances in genetic, robotic, information and nanotechnologies, we are altering our minds, our memories, our metabolisms, our personalities, our progeny–and perhaps our very souls. Taking us behind the scenes with today's foremost researchers and pioneers, Garreau reveals that the super powers of our comic-book heroes already exist, or are in development in hospitals, labs, and research facilities around the country — from the revved up reflexes and speed of Spider-Man and Superman, to the enhanced mental acuity and memory capabilities of an advanced species. Over the next fifteen years, Garreau makes clear, these enhancements will become part of our everyday lives. Where will they lead us? To heaven–where technology’s promise to make us smarter, vanquish illness and extend our lives is the answer to our prayers? Or will they lead us, as some argue, to hell — where unrestrained technology brings about the ultimate destruction of our entire species? With the help and insights of the gifted thinkers and scientists who are making what has previously been thought of as science fiction a reality, Garreau explores how these developments, in our lifetime, will affect everything from the way we date to the way we work, from how we think and act to how we fall in love. It is a book about what our world is becoming today, not fifty years out. As Garreau cautions, it is only by anticipating the future that we can hope to shape it. From the Hardcover edition.

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Radical Evolution – Joel Garreau

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BREAKING: Trump Budget Numbers Make No Sense

Mother Jones

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Jon Chait says the Trump White House has made a $2 trillion mistake:

Trump has promised to enact “the biggest tax cut in history.” Trump’s administration has insisted, however, that the largest tax cut in history will not reduce revenue, because it will unleash growth….But then the budget assumes $2 trillion in higher revenue from growth in order to achieve balance after ten years. So the $2 trillion from higher growth is a double-count. It pays for the Trump cuts, and then it pays again for balancing the budget.

It’s true that the budget summary document includes a line item called “Effect of economic feedback” (in Table S-2) that comes to $2.062 trillion over ten years. Is that the same as the economic feedback that will pay for tax cuts? Who knows, really. It’s all just made-up nonsense anyway. But here’s an interesting thing. In the detailed projections, the Trump budget projects lower tax revenue than the final Obama budget:

What’s up with that? Does the Trump budget not include any economic feedback after all? But even if it doesn’t, why is their projection lower than Obama’s? Is it so they can use this lower number as a new baseline for comparison when they unveil their growth-exploding tax plan later in the year?

I know, I know: who cares? The Trump numbers are just random gibberish plucked from the sky. Still, you’d think they could at least make them agree from one spreadsheet to the next. Where’s the economic feedback in the tax revenue numbers?

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BREAKING: Trump Budget Numbers Make No Sense

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BREAKING: Ivanka Out, Eric & Don Jr. to Take Reins of Trump Biz

Mother Jones

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It looks like Ivanka has been fired:

In a pair of tweets sent after 11 p.m., Trump wrote: “Even though I am not mandated by law to do so, I will be leaving my businesses before January 20th so that I can focus full time on the Presidency. Two of my children, Don and Eric, plus executives, will manage them. No new deals will be done during my term(s) in office.”

….Trump’s tweets omitted reference to daughter Ivanka, who, like her brothers, currently works at the Trump Organization. However, Ivanka is expected to step away from the business to serve in an advisory capacity to her father; her husband Jared is a key and trusted aide.

Then again, maybe she’s been promoted. Which is better: being a co-CEO of a crippled Trump Organization, or being acting First Lady because apparently your stepmother doesn’t want the job? That’s a ticklish question. Where’s the chief of protocol when you need him?

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BREAKING: Ivanka Out, Eric & Don Jr. to Take Reins of Trump Biz

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Republicans Pretend They Want More Powerful Bank Oversight

Mother Jones

Oh man, this is rich. Here is wingnut Rep. Jeb Hensarling griping about the fact that the Consumer Finance Protection Bureau didn’t find out about the Well Fargo scandal sooner:

“Why does it take the L.A. Times to break this story, when we’re paying federal investigators to investigate?” Hensarling recently told Fox Business Network.

“Where was the CFPB? Why did they come in so late to the game?” he continued. “They have immense powers and this is their job to enforce these basic consumer laws and it appears they were asleep at the switch.” Hensarling also has criticized regulators for the $185-million settlement with the bank, which allowed Wells Fargo to avoid admitting any wrongdoing.

If Hensarling had his way, the CFPB would be eliminated and Wells Fargo might well have escaped from the whole affair unscathed. Now he’s pretending that he thinks the CFPB is too weak. Sen. Sherrod Brown has it right:

“Hensarling reminds me of the kid who kills his parents and then wants to collect orphan benefits,” said Sen. Sherrod Brown (D-Ohio), one of the CFPB’s biggest backers. “He’s tried to underfund it. He’s tried to undercut. He’s done all he could to block bank regulations.”

Make up your mind, Jeb. Do you want the CFPB to more powerful or less powerful? You can only have it one way.

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Republicans Pretend They Want More Powerful Bank Oversight

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This Actress Gets to Play Like a Dozen Clones on "Orphan Black"

Mother Jones

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When I try to tell my friends about Orphan Black, I get excited and things come out garbled: “It’s about clones, but it’s also a mystery. The clones get sick, and there’s this race for a cure, but also a quest to find out where they come from and why—and there are these crazy pop-science researchers who modify their own bodies. The military might be involved.”

More calmly put, the BBC drama, whose fourth season kicks off tonight, is a complex futuristic thriller with themes ranging from self-identity and scientific ethics to religious extremism. But perhaps the show’s greatest strength is the reproductive rights storyline that has won it acclaim as a feminist triumph—even though it was created by a couple of guys. I reached out to one of those guys, Graeme Manson, to talk about entertainment, science, and feminism. For a little catchup, here’s the season 1 trailer.

Mother Jones: How did you and co-creator John Fawcett get to a series about cloned humans?

Graeme Manson: We were looking for a high-concept feature film idea, and that’s where we came to clones. We’d been friends for 20 years. John’s a horror and sci-fi person. I was into sci-fi, drama, and comedy. Our tastes intersected at black comedy. John pitched the opening scene for “Orphan Black,” where a girl gets off a train, looks across the tracks, sees her double, and in that moment the double commits suicide. That was all we had! It was like a four-sentence pitch, and we took it from there. John got juiced by the technical aspects of shooting a single actor playing multiple roles, and I got juiced on looking at clones as a concept and as something that was beginning to happen in the zeitgeist in terms of Dolly the Sheep. I found the psychological implications really rich: What happens if we clone humans? How do you feel about your genetic identicals—after 50 years, do you not even care that you bump into them in the supermarket?

MJ: Where do you stand on the ethics of cloning?

GM: We’re a sci-fi show, and a conspiracy mystery, so we naturally look at the scarier, more conspiratorial aspects of science, and that’s not real science. There is a consistent civilian mistrust of science where 98 percent of the time, scientists have mankind’s best interests in mind. But corporate science, big science, for-profits, military science—they’re not necessarily creating science that’s good for mankind. We like that question of what’s going on beyond the lab door. We think about what’s occurring right now that’s sinister or could be misused or is complex ethically. CRISPR technology, gene editing, germ-line editing: These are sciences that could change the face of mankind. We’re such irrepressible creatures. If you give us a technology; if you put a gun in a human being’s hand, sooner or later they’re gonna squeeze the trigger.

MJ: What kind of science are you guys eyeing for the upcoming seasons.

GM: Everything from genetic patents to “neolution”—self-directed evolution where humans are offered the technological choice of intervention in their bodies, be that biohack DIY experimentation, gene editing, or whatever. We have one really strong science writer, Chris Roberts, and story consultant Cosima Herter is a science historian—we like a historical context. Eugenics runs through all of the science we’re doing. From Victorian times to the early Cold River Institute genealogical studies, all these eugenical movements thought they had a good intention: “If only we had the right kinds of people, we would improve society.” But what are the right kinds of people? You’re talking about immigration, all these hot-button topics. If you’re gay, straight, or bi. What’s right? What’s legal? What’s defined? And then you get in there and start messing with the genome—it’s like, “Ugh!”

That’s a pretty juicy side of the show for us. We always find something there to be mulling and putting forward in the show as an interesting take on science or ethics that we don’t have an answer for, but you put it on the table and because there’s always these two sides to it—cutting-edge science is a good thing, but how could it manifest otherwise?

MJ: The show also has a strong reproductive rights theme: One clone’s eggs are harvested without her consent. Another narrowly escapes having her ovaries forcibly removed. And the clones are monitored—usually by men. What are we to make of all this?

GM: Those are ethical things, and it certainly plays as a very strong feminist statement on our show, which is something lead actress Tatiana Maslany is passionate about. John and I always say that when we started with the concept of clones, we didn’t realize what a feminist statement it would become in terms of body autonomy. These things became very apparent to us as we dug deeper, and the show as a whole is very committed to those kinds of issues portrayed in their complexity.

MJ: Tatiana has formidable task of playing all these different clones. Which one is the most challenging for her?

GM: I think Rachel, because she’s stiff and formal and cold and powerful and corporate and all of that—the opposite of Tatiana. Certainly in the beginning Rachel was very foreign to her. I know that she loves playing Krystal, because it’s not the kind of role she ever gets offered. They’re all a challenge. We work really closely with her on who the characters are when they’re coming. We come up with something we might need for story, and then we’ll take it to Tat to talk character.

MJ: It sounds like you give your actors a lot of input.

GM: We do. Our core actors are real pros and they’re all very good at finding things that we don’t necessarily see in the script. We love to give a little bit of leeway for the actors to play at the end of scenes or to bring their own flair to the scenes. We give our actors and our directors a chance to do some of that. Certainly Tat has a lot of input. When we run into story problems in the writer’s room, sometimes we’ll jog down to set and see what Tat thinks one of her many characters might do in that situation. She’s always very good at coming at it from a character point of view.

MJ: Where did you find Tatiana, anyway?

GM: Due to the vagaries of financing, we had to cast a Canadian lead. We saw everybody in that age range in Canada! The show wasn’t going to happen unless we had buy-in from both Canadian and American networks. Luckily, it was unanimous that Tatiana could handle it. But it was only once we started to see those clone scenes put together that we were like, “Damn, she’s good.”

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This Actress Gets to Play Like a Dozen Clones on "Orphan Black"

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