What does a scientist do all day? The Smithsonian's Matthew Carrano explains his job as a paleontologist, what he hopes to discover, and why he made a career out of dinosaurs. Read the rest
In early 2011, Felisa Wolfe-Simon published a scientific paper purporting to show evidence that bacteria from California's Mono Lake could, if pressed, live without the essential element phosphorous, and use arsenic, instead.
The story was wildly misconstrued in the press. (No, nobody ever found alien life happening naturally in Lake Mono.) And the evidence and methodology of Wolfe-Simon's research was roundly trounced, not just in academic journals, but also in blogs.
And that's all left Wolfe-Simon in a very weird position. She's certainly not the first scientist to publish a high-profile paper that other researchers tore to shreds. But, because the "arsenic life" story was so high-profile, she's now worried her career might be over. Is that fair? In Popular Science, Tom Clynes presents a nuanced profile of Felisa Wolfe-Simon that doesn't really answer that question definitively. Frankly, there probably isn't a really clear black/white answer out there. But Clynes does do a really good job of introducing us to Wolfe-Simon as a person, and her story exposes flaws in the peer-review process and the traditional avenues of scientific debate, indicts the media and PR professionals for creating the very sensational story that led to such a harsh response, and shows what can happen when a scientist is unprepared to deal with the public presentation of their own work.
In other words, this story is about lots of people making mistakes, including, but not limited to, Felisa Wolfe-Simon.
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In June, Science reported that Wolfe-Simon had left Oremland’s USGS laboratory to look for a location with better molecular and genetic research facilities.
Nice profile of Neil Gaiman in this week's New Yorker, written by Dana Goodyear, who really followed Neil around to get the story -- caught their duo act at the WorldCon in Montreal last year, where Ms Goodyear was being introduced to everyone who had a good Neil story to tell.
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Gaiman, who is forty-nine and English, with a pale face and a wild, corkscrewed mop of black-and-gray hair, is unusually prolific. In addition to horror, he writes fantasy, fairy tales, science fiction, and apocalyptic romps, in the form of novels, comics, picture books, short stories, poems, and screenplays. Now and then, he writes a song. Gaiman's books are genre pieces that refuse to remain true to their genres, and his audience is broader than any purist's: he defines his readership as "bipeds." His mode is syncretic, with sources ranging from English folktales to glam rock and the Midrash, and enchantment is his major theme: life as we know it, only prone to visitations by Norse gods, trolls, Arthurian knights, and kindergarten-age zombies. "Neil's writing is kind of fey in the best sense of the word," the comic-book writer Alan Moore told me. "His best effects come out of people or characters or situations in the real world being starkly juxtaposed with this misty fantasy world." The model for Gaiman's eclecticism is G. K. Chesterton; his work, Gaiman says, "left me with an idea of London as this wonderful, mythical, magical place, which became the way I saw the world." Chesterton's career also serves as a warning.