A Moving Skyscraper for N.Y.?

By John Tierney

Each of the floors of the Dynamic Tower rotates independently, giving the building different shapes throughout the day. (Dynamic Architecture/ David Fisher)

Would you like to see a building twisting itself into different shapes night and day on the New York skyline? Would you like to live in an apartment with a view that rotates 360 degrees? It may be a little hard at the moment to arrange financing for such tower — or any other new skyscraper in Manhattan — but the architect David Fisher is looking for a place to build it here someday.

He’s already designed such an edifice in Dubai called the Dynamic Tower, billed as the “world’s first building in motion.” Dr. Fisher, an architect based in Florence, he told me that he hopes groundbreaking for the Dubai tower will occur “within a matter of weeks,” and said that the problems in the credit market haven’t affected the project.

The tower is supposed to generate enough electricity to supply the power needs for itself as well as buildings nearby. The electricity will come from horizontal wind turbines tucked away between each of its 80 floors, and from solar photovoltaic cells on the roof each story. As the individual floors move, about 20 percent of each roof is expected to be exposed to the sun at any time of the day.

Dr. Fisher, who’s working on another of these towers for Moscow, was in town this week to discuss plans for New York. Where might it go? “We are currently looking at a few sites,” he told me. “It should be a place from where the view is attractive and also where people can stand and watch the building changing its shape.”

Any suggestions for him? Any predictions on how well those turbines and photovoltaic cells will work? And would you pay a premium to live in a room with a moving view?

Original here

Test predicts when menopause will begin

The Daily Telegraph

• Add to MySpace
• Add to Digg
• Add to del.icio.us
• Add to Fark
• Post to Facebook
• Add to Kwoff
• What are these?

Tick tock ... new tests could tell women how many years they are away from menopause, offering them a 'roadmap' to their reproductive life.

NEW tests could tell women how many years they are away from menopause, offering them a "roadmap" to their reproductive life.

For the first time, overseas scientists believe they have developed a blueprint to accurately predict when a woman's reproductive cycle is likely to end by testing hormone levels in blood.

But Australian experts yesterday said the test gave "false hope".

They said there was still no conclusive way of measuring when a woman would begin menopause.

The University of Michigan studied changes in hormones FSH and inhibin B, which stimulate eggs, in more than 600 women over 14 years.

It found hormones dropped significantly five years before menopause, meaning she was also at her least fertile.

Scientists also tested another 50 women each year for changes in the hormone AMH, which is already used as a predictor of fertility.

Researcher Maryfran Sowers said the results could help women choosing to have later-in-life babies.

"The information provides a roadmap as to how fast women are progressing through the different elements of their reproductive life," Ms Sowers said yesterday.

"We finally have numbers from enough women evaluated over a long time period to describe the reproductive ageing process."

The hormone AMH fell to a very low or non-measurable level five years prior to the final menstrual period.

But IVF Australia chairman Michael Chapman said doctors already used a similar test measuring AMH to predict a woman's fertility.

"The measurement of these hormones has been done for the last 10 years," he said. "We have recognised that AMH is a marker of predicting the number of eggs in ovaries.

"Our experience is, it might be that the ovaries are running short of eggs but it doesn't mean that menopause is due to start in the next one or five years. Menopause could still be years off."

Similar studies have been conducted in Australia but are yet to produce conclusive results.

Mother-of-two Jodie Earnshaw, 39, said a test to predict menopause would help women make choices. "I think a test like this would be good for women aged in their early 30s," she said.

Original here

Secrets Of Great Characters, According To 6 Science Fiction Authors

By Charlie Jane Anders

Amazing stories need great characters. And when you're writing a story set in a futuristic or fantastical world, it's more important than ever for readers to be able to relate to your characters. It's also harder than ever, because your characters' lives and experiences will be totally different than your readers'. How do you make people identify with someone who lives in the future, or on another planet? How can your main character stand out, against a bizarre and colorful backdrop? We asked six great science fiction authors for their advice.

Get to know them as individuals, rather than types. If your characters are cut off from all the present-day cultural references, like "lawyer who went to Harvard," then it's even more important to think of them as individuals, says Elizabeth Bear, Campbell- and Hugo-winning author of Carnival and Undertow. "Try very hard to know them as people," she urges. "That goes for any setting, past or present or future — or alternate reality."

In particular, you should think, "'This is a person who happens to have the following traits, and all that they imply,' rather than 'this is a nuclear physicist who grew up in Iowa.'"

Try making your characters scientists. Or at least, have them be obsessed with stuff that's relavant to your storyline, advises Kim Stanley Robinson, Hugo- and Nebula-winning author of the Mars trilogy and the Science In The Capital series. Having scientists as your characters lets you "explore the setting and the character at once." And it helps if your characters obsess about the mysteries and explanations in your story. They can also be obsessed with a planet, spaceship, new procedure or alien.

Base them on people you know. The most realistic characters are often based closely on your friends or people you've met, says Rudy Rucker, Philip K. Dick-winning author of the -Ware novels and Postsingular. That goes double for your aliens, A.I.s and robots, he adds. It's always better to copy your friends than to lift from "received ideas about how SF characters might behave. Who wants to see yet another a humorless talking head with a BBC accent? The absolute worst thing in Matrix III was when Keanu gets to the virtual office of the Big Computer Mind, and he meets, like, a tweedy professor with a white beard. Ugh! At the very least it should have been a fat hacker in a T-shirt, preferably high on pineal extract." Also: to make your characters stand out, try having them say quirky, unexpected things. "Forget your Star Trek memories, and remember your wild and crazy friends — the ones who say things that Make No Sense," Rucker advises.

Give them a thought-out world. The more carefully thought out the world you're placing your characters into, the more we'll be able to believe that they live there, says Tobias Buckell, author of Sly Mongoose. And that also makes it easier to "contrast them against this imaginary place."

Figure out what they love, and what they fear. Try to find what drives your characters, including what they want and need, Bear urges. And understand what traumatizes them. "I tell people I like to know what they'd want on their tombstone: that seems to give me a really good handle on who they are."

She adds:

Characters we can relate to have fears and damage, but moreover, for me they have to be devoted to something — an ideal, a person, whatever. Even villains become much more sympathetic when we're introduced to whatever it is that they love.

Kage Baker, author of the Company novels, agrees: "It isn't the way a person relates to his hovercar that makes him memorable; it's what's going on in his heart." No matter what planet or time you're living in, there will be "certain constants in human existence: struggle against poverty, rebellion against authority, love and desire, loneliness, curiosity. Any reader can relate to those." Make sure your character has loves and hatreds that readers can see themselves in, and the rest will take care of itself.

Don't aim for larger-than-life — and overshoot. One pitfall with science fiction characters is that authors sometimes make their characters "bigger than life, or archetypal" to let them compete with the big, brash colorful worlds they live in. A common mistake is veering past archetypal, all the way into "over the top, or maybe somewhat cliche." If you do try for archetypal characters, think of the classics from all genres, like Sherlock Holmes' quirky genius or Captain Ahab's drive.

Don't obsess too much about setting and toys. If you spend pages and pages on dense descriptions of your settings and how exactly your hovercar works, you're distracting the reader from your characters, says Baker.

It's enough to say "He climbed into his hovercar" and your reader will get the idea. You don't need to give a geography lesson: "They were sitting in the courtyard drinking fire-palm wine" or "She trudged back from the well, balancing her water jar" or "They looked out across the desert and saw the yellow mountains of Califia before them" all give brief, intense impressions of a place, without stopping the narrative in its tracks or drawing focus from the main character.

Find out who's hurting. If your story involves a new situation or technological breakthrough, figure out who suffers as a result — maybe that should be your main character, says Robinson, quoting from Damon Knight (who was quoting James Blish in turn.)

Keep your characters grounded. The stranger the setting, the more ordinary your characters should be, says Terry Bisson, Hugo- and Nebula-winning author of Bears Discover Fire. "For example, in my most recent story, the narrator 'had a job and an apartment, but that was all.' The story wasn't about the setting but about the character."

Your characters should be "totally convinced they live in the present, rather than the future. Because, of course, it IS the present to them," says David J. Williams, author of The Mirrored Heavens. Make sure your world, and your characters, both have a believable past, that anchors their present. "As Gibson said, the future's already here, it's just unevenly distributed. Same is true for the past: it's always with us, but sometimes beneath the surface. How one handles that is the key to character."

Original here