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As a European who has some familiarity with the layers of EU administration and agendas, I can understand your frustration. At the same time I hope that the sometimes too careful and slow EU approach, based on long discussions and negotiations to achieve a final consensus, may also prove useful to facilitate the acceptance of converging, "transhumanist" technologies in Europe.
Robert, developing a technology is one thing, deploying it is another thing. You know well that there are a number of potentially useful technologies that have never reached the marketplace and never improved the lives of people.Suppose tomorrow someone in a lab develops a prototype magic bullet. Like all prototypes, it would work in some cases and not work or even harm recipients in other cases. This would be a good step in the right direction but this step would be only the beginning of a long road. A lot of money and effort would have to be spent to convert the prototype demonstrator into operational technology. This would require acceptance by politicians, probably public funding, acceptance by regulatory authorities, and (especially) by the people in the street. Achieving all that takes time and work. These are all slow processes where you must give the system time to relax to equilibrium before moving on to the next step.So though I am frustrated myself by the "slow EU approach", I can see its merits in terms of gradually building consensus. Of course I would like to see things happening a bit faster.
I think it was "The Clock of the Long Now" that made the point that we have layers of society that change fast (fashion), slower (markets), slow (law) and very slowly (culture). It is a kind of onion with a fluid surface and more and more fixed interior layers. The upper layers adapt quickly to a change, the lower act as dampers. If changes go in the same direction long enough the lower layers move there too. This is far better than a society where all layers are similarly plastic since it will retain long-term information while adapting partially to short-term information. The timescales of change and how different they should be between different levels remains free parameters (that are non-obvious: their "optimal" values are highly dependent on the distribution of event timescales and what metric of success one uses).
Beautiful and useful analogy this of the onion, I am visualizing the outer layers rotating and trying to friction drag the inner layers along.I think the innermost layer is law, which reacts to cultural changes by codifying them when they are already solid and irreversible.Perhaps scientific advances are seen more like fashion by Americans, more lke law by Europeans.I see you agree that the slow approach also has its merits. It could be a T-shirt line: Americans do it fast, Asians do it faster, Europeans do it well.But I agree that slow change should be seen as nothing more than the price to pay for thoroughness and consensus, and that things should not be made even slower than necessary.
I see my role in these discussions very much as the irritating reminder that the anti-human enhancement consensus does not exist, doing my best to force a honest discussion about the issue into the agenda (and in the long run finding those good compromises). But it is hard work getting past the self-imposed filters.
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So there I was, leading my girlfriend by the hand through an exhibit devoted to vaginas. I remember only one other installation: a lovely old leather trunk, beaten and worn, the sort you might find in an attic. Beside it, a generous stack of vintage Playboys, with a few issues scattered here and there for effect. The artist had posted a story by the exhibit to help explain things. It told of a day when he, just pubescent but already aware (and ashamed) of his homosexuality, had been roped into ogling a bunch of Playboys with his friends (they belonged to an older relation of one of the boys). He had been asked to pick out his favorite. Miserable, desperate to appear normal, he chose a girl wearing a pair of high red leather boots. He liked the boots.
ELECTRIC SIX: Fire (XL)Hey, I thought our "scene" had dibs on rockin' affectation. Butsince Iggy invented the shit, it's only just that these Detroiters doit better--than Interpol, etc. Nukes and conflagrations, gay bars andMILF porn, discos and Taco Bells, their metaphors know no conscienceand not much sense. They exist only to rock your world. If you don'tlet them, you're the stupid one. A MINUS
WIDE RIGHT (Poptop)Poptop as in beer, not music. Leah Archibald runs a rock band,Jim, as down-the-middle as Mellencamp or the Iron CityHouserockers. Straight-speaking voice-guitar-bass-drums is her nativelanguage, so ingrained she'd fit right in on a stoner comp if she hada touch of flash. But Wide Right don't or can't preen. They serve upnone of the virtuoso macho that make down-the-middle rock fans feelbetter about their prospects. Some longhaired bozo vaunting hiswanderlust over these arrangements would be worse than abore. Archibald gets over by singing as who she is: a Rust Belt momwho rocks in her spare time and writes fierce breakup songs to afickle drummer and a jerk at work. She appreciates the simplethings. Foremost among them is this generic music that when you thinkabout it is unique in history. A MINUS
SOLE: Selling Live Water (Anticon)The shortfall of this uprooted state-of-Mainer is generic. Like somany underground rappers, he's actually what his meaner and cheeriercoequal Busdriver calls, less sarcastically than he thinks, a"spoken-word artist." He writes poetry designed fordeclamation. "Never learned to dance because I exercise the right towrite," so his beats are his rhymes and meters, and his scant musicmore atmosphere than rhythm. From a fringe foreseen by William Gibson,sharing cheap food and living quarters with fellow spirits he doesn'tentirely trust if he can stand them at all, he speaks for adisenfranchised subculture that knows, as he says in his best line,"jobs ain't nothing but free pens and long distance calls." Certainlyhe understands things about this society that his better-adjustedcontemporaries don't. But he's woefully short on not just empathy buthumorous self-deprecation. With him, "I only rap because I ain't smartenough to write a book" is a species of boast. And when he does writea book, which he will, no one will read it. B 041b061a72