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Peter Watts

Peter Watts is a Canadian sci-fi author and biologist. In addition to several accolades for science fiction, he has won minor awards in fields as diverse as marine mammal research and video documentaries.

Watts’s work is available in 22 languages, has made it into 32 Best-of-Year volumes, and has been nominated for over sixty awards in a dozen jurisdictions. His (somewhat smaller) list of 23 actual wins includes the Hugo, the Jackson, and the Seiun.

Peter Watts holds a Bachelor of Science degree and a Master of Science from the University of Guelph, Ontario. He also earned a Ph.D. from the University of British Columbia in Vancouver from the Department of Zoology and Resource Ecology.

Watts went on to hold several academic research and teaching positions and worked as a marine mammal biologist. He began publishing fiction around the time he finished graduate school.

Peter Watts spent the first two decades of his adult life as a marine biologist. After fleeing academia for science fiction, he became known for appending technical bibliographies onto his novels; this confers a veneer of credibility.

His debut book, Starfish (1999), was a NY Times Notable Book, while his sixth, Blindsight (2006)—a philosophical rumination on the nature of consciousness with an unhealthy focus on space vampires—has become a core text in diverse undergraduate courses ranging from philosophy to neuro-psych. It also made the final ballot for a shitload of domestic genre awards, including the Hugo, winning exactly nothing.

Watts has made some of his novels and short fiction available on his website under a Creative Commons license.

Peter Watts married fellow Canadian author Caitlin Sweet. They live in Toronto, Canada.

Photo credit: rifters.com
years of life: 25 siječanj 1958 present

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Andrey Karabanovje citiraoprije 2 godine
They called it inattentional blindness, and it had been well-known for a century or more: a tendency for the eye to simply not notice things that evolutionary experience classed as unlikely
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The whole BioMed subdrum was but a part of the Szpindel prosthesis: an extended body with dozens of different sensory modes, forced to talk to a brain that knew only five
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There was a model of the world, and we didn't look outward at all; our conscious selves saw only the simulation in our heads, an interpretation of reality, endlessly refreshed by input from the senses. What happens when those senses go dark, but the model—thrown off-kilter by some trauma or tumor—fails to refresh? How long do we stare in at that obsolete rendering, recycling and massaging the same old data in a desperate, subconscious act of utterly honest denial? How long before it dawns on us that the world we see no longer reflects the world we inhabit, that we are blind?

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