by Albert B. Dickas. Mountain Press, Missoula, 2012. 978-0-87842-587-7. $24 softcover
review © Norman Sperling, June 11, 2012
Both for sight-seeing and for tutorials, this is a wonderful new book. It illustrates a great many important geological principles while providing glorious sights to see. Almost all of the sites can been visited by road. You'll find many settings of igneous, sedimentary, and metamorphic rocks (JIR spoofs those as ingenious, sentimental, and metaphoric).
Each selection has a 2-page spread: the left side tells coordinates, background, and what you can see. The right side presents 3 or 4 photos, cross-sections, maps, and/or development sequences. As in most cases where a publisher or designer dictates that all selections get equal space, both stories and typography may seem puffed or crammed.
Many places are within a half-day drive for most Americans. There's at least one in every state - one of the selection criteria. Just as in baseball's All-Star Game, where there has to be a player from every team, this promotes a number of less-important selections at the expense of better ones. Baseball depends on its fan-base, but people seeking superior geologic examples know perfectly well that they have to travel to see most of them. I hope the next edition abandons this criterion. Travelers will find concentrations of gem-quality sites easier to take in during reasonable excursions.
The author's illustrations and points are extremely clear. I found no typos, and only 5 minor mistakes.
The glossary, references, and index all have lots of entries, enabling a reader to pursue items. The glossary is a bit terse considering that many readers are novices. But it does distinguish, for example, between "terrain" ("A region of the Earth that is considered a physical feature, such as the Great Plains") and "terrane" ("A body of rock bounded by faults and characterized by a geologic history that differs from adjacent terranes"). It would be improved by listing all the examples in the book. The index probably doesn't list all occurrences of each term.
Whether you seek the newest or oldest rocks, or relics of ancient Gondwanaland or Rodinia, this book shows the way. These 101 geo-sites are well worth the trip for anyone interested in the more durable parts of Nature.
© Norman Sperling, June 1, 2012
If you read the how-to business books that publishers publish, you'll learn many proven techniques: Seek innovations, seek new markets and niches, do variations that others don't do. Be nice to people, as nice as you can be.
Publishers publish such advice, but don't follow it.
Big integrated publishing companies used to handle almost all of the myriad functions that go into a successful book, from editing to illustration, layout, typography, relations with the printer, marketing, sales, warehousing, and shipping.
Hundreds of publishing companies have been bought out by 6 faceless, unfeeling, cost-cutting conglomerates, and evade as many of these tasks as they can get away with.
Instead of proactively figuring out what ought to exist, and then making it so, they mostly react to the inflood of proposals ... and let others filter them. Publishers are supposed to select their manuscripts, but delegate the biggest part of screening to literary agents. Most big, and many medium, publishers won't deal with authors directly but ONLY deal through agents. So a writer has to find an agent.
Finding an agent who will truly work for you is like finding a bank to lend you money: they're most willing when you prove that you scarcely need them. One agent told me that I'd need my website to get a certain big number of hits per week – but when I do, I should sell more online than physical bookstores would.
Publishers are supposed to help authors with illustrations. A few still do. Others, however, keep the illustrators from talking to the authors, guaranteeing incompetent pictures, unhappy authors, and baffled readers. Keeping illustrators and authors apart is utterly counterproductive, but some publishers do it.
Publishers are supposed to arrange for manufacturing the books, but an author-friend tells me of some who are delighted to slough that off to subcontractors – even to the author (who can use this for further employment, taking another piece of the pie).
With the latest short-run and publishing-on-demand services, there is no longer any need for warehousing, nor for guessing how many to print, nor for big investments in printing. I'm already publishing certain books that way.
Publishers are supposed to market, but now they require the author to submit a marketing plan with the book proposal. What aspect of being a good author qualifies one for any marketing at all?? Publishers squeal with delight when they see a good marketing plan. The more the author plans marketing, the stronger the book! Publishers used to have real marketing specialists. But publishers market absurdly narrowly: I know a big publisher that markets its parents' guides to coaching ONLY to the *sports* shelves of general bookstores, and expressly ignores all *parenting* channels, even after I pointed out to them that more customers are to be found as "parents" than in "sports".
Publishers are supposed to sell, but abandon much of that to chain stores, and Amazon, and aggregators like Baker & Taylor. Is there any use for aggregators that software can't do?
So big publishers don't define their products, they don't seek out authors, they avoid setting type, they subcontract illustrations, and avoid dealing with the printer, or doing most of the marketing. Most big publishers seem outright scared of ePublishing and eBooks. Small presses may pay more attention to authors but whereas big publishers don't do all the necessary jobs because they're *negligent*, small presses don't do all the jobs because they don't have enough *resources*.
Since publishers do so little, what do you need them for? Self-publishing manuals list all the tasks to do. All those jobs still need to be done. Do as many of them as you can and want to yourself, and hire out the rest. If you skip any, the job's not done and the results won't be professional. An author cannot edit his own writing. Suggestions are just a tweet away. Make sure *all* the jobs are done well.
Here are some books on self-publishing. They're wisely heavy on marketing, and not up-to-date on eBooks, but they do enumerate every step you need to take.
Tom & Marilyn Ross: The Complete Guide to Self-Publishing, 4th ed. Writer's Digest books 2002.
Dan Poynter: The Self-Publishing Manual 2002, and volume 2, 2009.
Marilyn & Tom Ross: Jump Start Your Book Sales. Communication Creativity 1999.
© Norman Sperling, May 29, 2012
Comedian Steve Martin wrote a play about how Science and Art approach similar questions from different angles. I saw a community theater production of Picasso at the Lapin Agile: in 1904, young Einstein and Picasso run into one another at a bar. I'd love to see it made into a movie. Our lead article is the script of an epilogue, set in a different bar 40 years later. They still regard space and time from very different angles, but come a bit closer this time. How would they, or current physicists and artists, interact this year? Thanks to David Carlberg for the script.
Our cover article celebrates cryptozoologists' ongoing search for undiscovered or unappreciated hominids. Enjoy this Irish expedition to examine "The Wild Ape-Leprechauns of Borneo". Is the orangutan the strange target, or the leprechaun? We welcome Pandareus von Grundenstein back to our author list.
Entrepreneur/adventurer Richard Branson pulled an April Fool joke by announcing "Virgin Volcanic". His new screw-propeller vehicle would swim through liquid lava to travel from volcano to volcano underground. On the back cover, look for the dramatic embodiment of his motto "screw business as usual".
JIR's decades-long exploration of academe continues with David Burns's grading of exams according to the time students hand them in. I've noticed something along those lines: students with little to say finish early, students with a lot to say need more time to say all that. Meanwhile - and we do mean "mean" - Subhabrata Sanyal attempts to measure the factors that make him cranky.
Cartoon character "Popeye" is so popular that people overlook his obvious physical peculiarities. S. D. Hines examines him medically and finds facial dysmorphism, microophthalmia, distal limb hypertrophy, a mono diet, and intermittent explosive disorder. What other popular characters should be examined?
Jeff Jargon takes aim at genetically-modified foods not by minimizing the differences of those currently on the market, but by exploring future extensions. He offers a pitless cherry, all-white-meat chicken, and (noting the great taste of a bacon cheesburger) a graft/hybrid cow/pig. His "chipoodle", a chihuahua/poodle hybrid, was hailed as "the most nervous, yappy, high-maintenance canine ever conceived."
Hybrid cars obviously combine electric and internal-combustion features. Nancy Niemeyer mixes in the kitchen mixer.
How would a statistician write a dating advertisement? Joeri Smits shows his bid. No word about how well it has worked. How would such an ad be written for other specialists? Like you?
Common basket filters for coffee makers are cheap and ubiquitous. The bottom ones in each stack are also infamous for collapsing. I suspect that's because, the way they're formed in bunches, upper ones have pleats arched in a way that resists collapse. Lower ones have pleats arched so weakly they invite collapse. Danila Oder explores the resulting muddy coffee as "grounds" for murder.
Is it "rocket science" that's so famously difficult? Engineer Rod Hatcher says it's actually "rocket engineering" that's the really hard stuff. I think both sides are right, and making rockets work is still a horrendously complex and difficult accomplishment.
Richard Mead greatly simplifies physicists' ongoing to-do over Higgs Bosons. He spotted 7 of them huddled in a corner of his sock drawer. I hate to think what might lurk in mine.
Other topics include paper-folding, inside-out underwear, famous quotations and who didn't say them, and more goofy-named advisors and web domains.
Establishments mentioned in this issue:
* The Melbourne Institute of Precipitate Isotrophism
* Department of Regression to the Grand Mean
* University of Unreality
* University of Imaginary Numbers
* Alaskan Neurologic Center for Subaqueous Sesquiology
* Polikeness School of Nutritional Sciences
* Denver Nucleic Agency
* Plunder Island Probiotic and Bionutritional Research
* Organization for Useful Cognitive Help (OUCH)
* Bureaucratic Invidious Negative Officialdom (BINGO)
* Acquaintances of Ministerial Informal Governmental Activities (AMIGA)
* Ghastly Repulsive Invidious Non-Governmental Offices (GRINGO)
Journals mentioned in this issue:
* The Journal of Unpleasant Student Experiences
* The Journal of Plant Sociology
* Acta Comic Toxigens
* The Journal of Abnormal Locomotion in Toddlers
* International Journal of Salad Experimentation
and, as unclassifiable as its author:
Director Supreme of the Gene Dream Team
Authors come from Australia, Canada, England, Israel, and Norway, and the American states of Alabama, Alaska, Arizona, California, Colorado, Georgia, Indiana, Maryland, Massachusetts, Ohio, Vermont, and Washington.
as of May 9, 2012
May 19-20: Maker Faire. Visit my sales booth. They usually put me in the largest building, most often halfway between its center and its east corner. Introducing: manual mechanical analog tetris! Topical sets of JIR. And important parts of my personal library, which I must now sell because of impending lack of space.
May 25-28: BayCon 2012
Friday, May 25
Irreproducible Results 2:30 PM to 4:00 PM in San Tomas room (with Berry Kercheval, Jay Reynolds Freeman, Allison Lonsdale) Panelists discuss the fun and foibles of the scientific world.
Is the Patent System Broken? 4:00 PM to 5:30 PM in San Tomas room (with Vickie Brewster, Scott Beckstead, Hugh Daniel) The Patent Law Reform Act of 2011 made many significant changes, including making it first to file, not first to invent. Is this an improvement, or are their still fundamental flaws?
Saturday, May 26
How the Style of Writing Can Make a Book Readable 11:30 AM to 1:00 PM in Winchester room (with Brandon Sanderson, Maya Kaathryn Bohnhoff, Diana L. Paxson, Dario Ciriello) First person? Omniscient? First person smart aleck? A discussion of how and why does the point of view change our liking or disliking of a storyline. How does the way authors convey their story, film noir, western, fairytale, tall tale, all come together or fall apart for the reader?
After the Space Shuttle: What's Next? 1:00 PM to 2:30 PM in Camino Real room (with Arthur Bozlee, Jay Reynolds Freeman, Mike Van Pelt) With the retirement of the Space Shuttle, what's happening with getting men and material into space? How about space tourism? Whither the mission to Mars?
The Science of Science Fiction 4:00 PM to 5:30 PM in Lafayette room (with Scott Beckstead, Kay Tracy, Dani Kollin) A discussion of the science behind the fiction, whether e=mc^2 or the warp drive of Star Trek, or the hyperdrive of Star Wars. How much science is needed? How much care do we need to take to avoid having our science come back and bite the author in the bum?
Sunday, May 27
Self Publishing: Where does it fit in the Literary Food Chain? 11:30 AM to 1:00 PM in Lawrence room (with Kyle Aisteach, Jon Cory, Marty Halpern) Between Amazon and Barnes & Noble, self-publishing has taken off; no longer the classical vanity press, often seen as the redheaded stepchild. Is it? Should it be? Where does this fit in the food chain, or is this about to become the Shark?
Travel is My Drug of Choice 2:30 PM to 4:00 PM in Camino Real room (with Chaz Brenchley, James Stanley Daugherty, Deirdre Saoirse Moen) Avid travelers travel for different reasons. Panelists discuss the motivations behind their enthusiasm.
"Hard Science" Science Fiction Doesn't have to be Hard 5:30 PM to 7:00 PM in Winchester room (with Arthur Bozlee, Scott Beckstead, Veronica Belmont, Kyle Aisteach, Eytan Kollin) What are some books, movies, comic books, etc. that have used GOOD science and still managed to be exciting? What was the bad science that made you howl in pain, could it have been modified to be better science and still keep the story intact?
Monday, May 28
What Do We Know About Mars? 11:30 AM to 1:00 PM in Camino Real room (with Arthur Bozlee, Paula Butler, Kyle Aisteach, Jay Reynolds Freeman) Past, present, and future explorations.
Wednesday, June 13: Speaking for Bay Area Skeptics: Skeptalk:
Tell Me Where to Go, and What to Do When I Get There
7:00 PM, Wednesday, June 13, 2012
La Peña Lounge, 3105 Shattuck Avenue, Berkeley
After 20 years on Daddy-duty, I hit the road next January, towing my camper all over the US and Canada. "The Great Science Trek" will include:
* Touring "Big Science" places. I'm listing labs, space bases, important research institutes, ... How can I tour the Agriculture Lab in Albany?
* I plan to speak to groups of: skeptics, astronomers, science writers and bloggers, science cafes, ... Where can I get lists of these? What other types of audience should I seek?
* Amateur astronomers hold big "star parties". I'll observe the sky, and the kinds of telescopes now used, and how observers interact with their scopes. Do amateurs in other sciences have comparable gatherings? I'd love to sample some of those.
* I'll photograph myself at places with scientific names. When I lecture my students about Mars, I can show myself at Mars, Pa., and tell them "I know, because I've BEEN THERE." Any suggestions?
* "Don't Go There": where, and why not. Juarez, Mexico: not safe.
I'll gather input for book-like projects to publish by ~2016:
* Scientific white elephants: The Superconducting Super Collider left a big arc-shaped hole in Texas. Missile silos are being recycled for storage, housing, and a survivalist compound. Big observatories may turn into white elephants. What else might? (Mansions are often too expensive for families to keep. They often turn public, recycled as colleges, hospitals, or musea, and often aren't such great venues, very expensive to maintain.)
* I want to touch rocks deposited during every geological epoch (about 38 epochs in the last 542 million years). It's difficult to find listings of layers' ages because geologists prefer to describe their minerals and how they formed. To get all 38 epochs since the Cambrian will probably require visiting more than 10 sites. Please recommend multi-layer road cuts, cliffs, and other exposures.
* In entomology, I want to learn how locals cope with their pests. Some of those critters have specific behaviors and characteristics that locals have noticed.
* Especially, characteristics of infestations by Argentine ants. They absolutely LOVE my kitchen. They make fantastic supercolonies. Where edges of their supercolonies meet, they can wage perpetual ant-wars, where the front can move back and forth a hundred meters a year. Have you noticed anything about Argentine ants?
* Places rebuilding from disaster: The Bay Bridge was closed for a month after the 1989 earthquake, and its reconstruction should finish any generation now. The Oakland Hills burned in 1991 and now feature bigger homes and smaller trees. Greensburg, Kansas, was demolished by a tornado and rebuilt as a "green" city. Where did destruction defeat a town? Can I determine factors regarding type of disaster, degree of disaster, years since disaster?
* I'll photograph and measure giant pop-art sculptures of people, animals, objects, and so on. I intend to concoct a tongue-in-cheek satire, saying these are traces of giant critters and cultures. Can you suggest where I can find some of these giant figures?
* I'll visit places "Frozen in Time", like Plimouth Plantation, where it's always 1627. By arranging them by date, I can trace development through time. I can track technological evolution in kitchens, windows, chairs, etc. I've noticed that basic components of "comfortably furnished rooms" haven't changed hugely since the early 1700s, it's just that vastly more people can now afford them. Where do you know a place that's "frozen in time"?
I'll bring maps of places listed-so-far.
More detail on my blog.
Saturday, June 30: attending the Northern California Historical Astronomy Luncheon and Discussion Association, viewing 2 private antiquarian collections in Marin County. If you're interested, contact me for details.
AM: Of Beauties and Beasts: The Golden Age of Celestial Cartography. Hundreds of maps, frontispieces, memorabilia from a superb collection!
From 1600 to 1800, celestial cartography reached its peak in beauty and quality with the publication in Europe of a number of breathtaking atlases and prints related to the heavens. Some were maps of lunar or planetary surfaces, or diagrams of the solar system according to various cosmological theories (e.g., the Earth-centered universe of the classical Greeks, the Sun-centered system of Copernicus). But the most striking images were of the constellations. Classical Greek traditions abounded, with allegorical visual representations of heroes and heroines, real and imaginary animals, and scientific and artistic tools and instruments. But why were such constellation images used in star maps?
The 17th Century ushered in the Golden Age of celestial cartography in Europe. 4 individuals particularly advanced the field and influenced the work of other celestial cartographers: Johann Bayer, Johannes Hevelius, John Flansteed, and Johann Bode. Lesser contributions from Andreas Cellarius, Johann Doppelmayr, and John Bevis.
PM: A collection of detailed ship models. These are really big models at 1/4"= 1 ft scale so seeing the real things is really a shocking experience for the arts and craft lover. It is remarkable that so many such delicate creations have survived centuries of violence and accidents to come down to us intact to appreciate.
The ship models mostly are old models built in the 17th and 18th Centuries, mostly in Britain. They are often called Navy Board or Admiralty models. The practice of building very accurate and exquisitely decorated ship models in England appears to date from the time of Oliver Cromwell in the mid-17th Century. They are considered the pinnacle of the ship modelers' art and many advanced modelers copy the style or make modern replicas to show off their skills.