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Synthetic human embryos from human stem cells? Ethical issues on the horizon!

That’s where it all begins . . .  human life, that is. What you see is a scan of the surface of a human embryonic stem cell.  (Photo credit to David Scharf and Science Source. )

An article by Carl Zimmer  in the NY Times this week raised the prospect that science is on the threshold of creating “synthetic human entities with embryolike features”.  (“Sheefs” in their acronym.)

Hold it right there!  Just what IS a “synthetic human entity with embryolike features”?

“Soon, experts predict, they will learn how to engineer these cells into new kinds of tissues and organs. Eventually, they may take on features of a mature human being.” (Quote from the Times article, my emphasis added.)

“Features of a mature human being”  –– Hmm, and what does that mean?  Does that ( in the not-so far distant future) mean man-made creatures walking around, looking like us, but with “parents” were petri dishes in a lab?

I don’t speak directly of Sheefs or stem cells in my science techno-thriller A REMEDY FOR DEATH, but the problem REMEDY raises is much the same as in the quote–taking on “features of a mature human being”.  (For the record, neither did Michael Crichton in JURASSIC PARK get into this issue of stem cells in bringing about his dinosaurs.)  But something like that had to have been done in both JURASSIC and REMEDY to reach the outcomes.

But REMEDY and JURASSIC PARK  are just science fiction. But the “fiction” is quickly fading as reality pushes up against the “what-if.”  As Paul Knoepfler, a biologist at University of California, Davis, put it, speaking of this and other  related research at the University of Cambridge: “They’ve opened the door to a lot of tough questions.”

Which echoes a warning from the fictional Kate Remington, Ph.D.  in A REMEDY FOR DEATH: “You’re opening very dangerous doorways! Once they’re open, there’s no stopping what may come through from the other side of that doorway!”

A REMEDY FOR DEATH: articles on radical life extension, reversing aging, the quest for human immortality, and regenerative medicine

As  my technothriller, A REMEDY FOR DEATH, is set in areas including anti-aging methods, bio-engineering, radical life extension, the quest for human immortality,organ regeneration and organ fabrication, regenerative medicine, reversing aging, the quest for eternal youth, and transhumanism, I keep an eye out for articles on these and related topics.

Here are a few of the more intriguing. Normally, I’d like to comment on them and put them into perspective, but the list has grown too quickly recently.  

 

Tech titans’ latest: Project Defy Death. Washington Post, page 1 above the fold, April 5, 2015;

http://www.washingtonpost.com/sf/national/2015/04/04/tech-titans-latest-project-defy-death/#

Continue reading A REMEDY FOR DEATH: articles on radical life extension, reversing aging, the quest for human immortality, and regenerative medicine

Special sample: how sensory deprivation immersion tanks fit into the plot of the technothriller, A REMEDY FOR DEATH

Here’s your free sample drawn from my science technothriller, A REMEDY FOR DEATH.  Note: this special sample does not pick up at the beginning of the story, but rather focuses specifically on how sensory deprivation immersion tanks work in the plot.

Click to enter that special world: A REMEDY FOR DEATH— how sensory deprivation immersion tanks fit into the story

Read the first 100-plus pages of INFINITE DOUBLECROSS — FREE!

CLICK HERE TO START READING  — FREE!

The image on the cover is adapted from the painting, “Antibes, Afternoon Effect,” by Claude Monet in 1888. Of this painting, Monet wrote, “I am painting Antibes as a small fortified town glistening golden in the sun, and standing out against the beautiful blue and pink mountains.”

The Château Grimaldi is at the center of the painting. Picasso lived and worked in the Château for a while after World War II. It is now a used as a museum, mainly for the works of Picasso, where an early scene of Infinite Doublecross takes place.

The font used on the cover is Matisse, styled on the work Henri Matisse, 1869-1954, who, like Pablo Picasso, worked in the south of France. “When I realized that every morning I would see this light again,” Matisse wrote when he first came to Nice, “I couldn’t believe how lucky I was.