Twitter is a place where anyone can say anything, to anyone, at any time. But what happens when you don’t want to hear what someone else has to say? What if someone is attacking you personally, or getting all their friends to attack you? On this week’s Radio Motherboard, we talk about when to block, when to mute, and we consult with the master of the Twitter debate, rapper Talib Kweli.

Hollywood, 1992. Mark Snow was already a pro at TV scores—dramas, procedurals, comedies—when a producer recommended him to Chris Carter, a veteran of Disney TV movies who needed music for a new TV pilot, The X Files, an unlikely supernatural procedural inspired partly by Kolchak, The Twilight Zone, and Twin Peaks. As he sat in his garage home studio one day, stumped in his search for the right sound for the show’s theme music, Mark accidentally put his elbow on the keyboard. A delay echo blurted out of the monitors. “That’s kinda cool,” he thought.

Neither he nor Carter could imagine that that creepy, repeating sound would form the basis for one of TV’s most unforgettable bits of music, one that would eventually implant itself like an alien virus across the culture and in the brains of a generation of viewers. (I offer no apologies for my first web page, in 1997, an X Files tribute that auto-played a MIDI version of the theme song, on repeat.) A few minutes after 10pm every Friday, those creepy synths and that whistle—a mix of computer and human sound—beckoned us into the shadows of the neon-bright '90s.

To get there, Snow tells me in a new episode of Radio Motherboard, he started by heeding Carter’s advice: keep it simple. “Just make it that cool little thing that the boy scouts in the middle of the night on a camping trip whistle to each other… and then a monster comes and gobbles them up.”

Special thanks to Mark Snow, to our engineer Mark Leombruni, and to Paolo di Nicolantonio of Synthmania.com for the samples of the Emu Proteus/2 synthesizer.

Sometimes, it can be hard to know how to act around artificial intelligence. 

In the first half of Radio Motherboard this week, staff writer Jason Koebler explores how people treat Microsoft’s digital assistant Cortana when no one’s listening. (A small spoiler: Apparently, people like to harass it. One new challenge in AI programming is learning how to gently smack down haters.)

In the second half, editorial fellow Louise Matsakis looks at a group that runs a “rationality” workshop that teaches humans that in some cases, it makes more sense to think more like computers.

So scientists are saying an earthquake—a quake that is so big and so powerful you probably can’t even properly comprehend it—is probably going to hit your city, hard. It could be five years out, ten years, fifty years, or it could be tomorrow. But it’s going to come. How do we go about organizing that kind of information in we brains? How do we understand it on a rational, sensible level? Then, what do we do about it?

We can write science fiction stories about it, for one thing. That’s what the archivist, researcher, and writer Adam Rothstein has done. Rothstein spent many months poring over every available emergency document, seismic evaluation, and scientific study carried out on the Cascadia Subduction Zone Earthquake that he could get his hands on. That quake, scientists say, will be of a magnitude up to 9.3 Mw—perhaps the biggest to hit the continental US in our nation’s history.

Last year, Kathryn Shulz published “The Really Big One” in the New Yorker. The story introduced, for many audiences, the prospect of a Cascadia Subduction Zone earthquake, which many geologists say is actually overdue. The article went viral, and left just about everyone in the Pacific Northwest terrified. But the fact that the quake is coming is only a small sliver of the story—what happens when it does is, arguably, the most important, at least from a humanistic point of view.

So this week, Terraform, our future fiction outfit, published Rothstein’s intensely reported 5-part story about what, precisely, may happen after the Big One. When we chatted for the podcast, Rothstein told me that one of his chief aims was to get people thinking about the next steps, after awareness-raising.

“Lots of people I know just figure they’ll be dead,” he told me, despite the fact that your chances of surviving the initial quake in an inland metropolis like Portland are very high. So the point of the story, then, is to render the future less apocalyptic and more productive. Imagining the nitty gritty details of the calamities—not always outright tragedies—that will befall us, will help us prepare to assist our neighbors, and compel us to arrange and maintain earthquake kits.

So far, his story seems to be working.

At least, according to the urbanist and writer Alissa Walker, who writes of the piece, “All I will say is that it worked. Let’s also hope all major cities in seismic areas will undertake a similar scenario-writing exercise and perhaps even work with local sci-fi writers. This series certainly got me far more motivated to get prepared than any other piece about earthquakes that I’ve researched or read myself.”

Clearly, not everyone will have such a positive reaction; but that is, for Rothstein, the desired effect: comprehension of a potentially far-off and difficult future, and preparation for its coming. Listen in for more for our discussion of the story’s genesis, what will happen to Portland in the wake of the quake, and science fiction’s role in charting out our plausible futures