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March 2005 Archives

O´Reilly´s Digital Media Blogs have been expanded and are now located at a new home. To find our new blogs, please visit:
Rick Jelliffe

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Related link: http://java.sun.com/developer/technicalArticles/J2SE/constraints/annotations.htm…

Sun’s developer list has this good article on JAVA annotations. It is one of the first articles that really makes explicit that annotations (as available in java 1.5 and C#) allow the same code to be processed in different ways for different applications: the declarative approach that has been so successful with SGML/HTML/XML.

Lets call using marked-up text and marked-up programs annotation-oriented programming: a new brand
for symbolic processing.
Perhaps we are heading towards a world where the
two extreme philosophies of programming languages
will be annotation-oriented programming
on one hand, emphasizing the free annotation of any
and all information to any granularity and to any
depth of meta-ness, versus relational programming, emphasizing atomic facts and the relations between them.
The practitioners of each, annotators and atomists,
are a superset of XML’s Docheads and Dataheads.

It would be interesting to do a Codd
and make up a list of the requirements for
an annotation-oriented programming system
and figure out its formal properties:
every item or WF sequence of items is capable of being annotated,
including annotations, might be one requirement.
Another might be that there every item can be
addressed.
What would be interesting then would be whether,
in fact, the two worlds are actually distinct,
or whether one is a layer or subset.

To be most successful, annotations will need to be accompanied by some fairly ubiquitous tools. Rather than growing the language or the API, extra functionality may be available from annotation-aware tools. For example, it would be great to have a standard XML view of a java file and of a java class that could be processed by XSLT.

In Java 1.5, I don’t uch like the annotation syntax: the @ is cute, who on earth would decide to prefix annotations rather than in- or post-fix them?

David Battino

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Related link: http://prodaw.com/prodaw/

What if the top recording and music-technology magazines decided to put hundreds of their past articles online for free—and then someone made a directory? You’d get Pro DAW.

This Googlesque linkfest points the way to scads of articles from magazines such as Electronic Musician, Mix, and Sound on Sound, as well as numerous authoritative Web sites. A sampling of topics:

  • Basics
  • Burning discs
  • Business
  • Composition
  • Compression
  • Digital Audio
  • Effects
  • EQ
  • Instruments
  • Levels
  • Mastering
  • MIDI
  • Microphones
  • Mixing
  • Monitoring
  • Remixing
  • Sampling
  • Sync
  • Synthesis
  • Wiring

You won’t get the full magazine experience at all of the links, as several magazines are still stingy with uploading graphics, but this is truly a motherlode of musicmaking information—complete with pickaxe.

What online music resources do you recommend?

Spencer Critchley

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Recently I wrote an article on Flow and musical instrument design, arguing that too many electronic musical instruments disrupt creative flow because their interfaces are poor and they emphasize features instead of user experience. It came out of work done by a brainstorming group at Project Bar-B-Q in the fall of 2004.

I used “flow” in the sense defined by Mihalyi Csikszentmihalyi in his studies of the thought processes of creative people. Although my article featured some fairly bitter complaints (don’t get me started again), I do think there are some hopeful signs out there that the future may be brighter.

One is Apple’s Garageband - not to be confused with garageband.com, which I wrote about recently and which I think is also cool.

Like a lot of pro users, I assumed Garageband was a toy when it first appeared - after all, it’s pretty much free. I tried the first version, and it seemed to me it had some timing accuracy problems, so I went back to Logic and other heavier duty tools. But lately, like a lot of pros I know, I’ve gone back to Garageband and have been using it more and more. And it’s been making me very happy, because Garageband has so little going for it. It’s just that what’s there is exactly what you need when you have an idea — it’s as fast and handy as a pencil and a piece of paper (a standard still unmet by any electronic technology). The emerging work flow is: Have an idea, grab it with Garageband, then develop it in Logic or the like.

Why not just start in Logic, since Logic can do everything Garageband does, plus about a universe-full of other things? Because in flow, every second counts.

This is a concept I’m convinced many product designers still haven’t grasped — they claim that the public demands more features, and they must keep up with the competition. But I argue that flow is valuable — Csikszentmihalyi says it may be the most valuable experience we have. And flow is essentially a rhythm, and if you’re trying to keep that rhythm going, seconds are expensive, let alone the minute or two it might take to get a Logic session going vs. Garageband near one-click responsiveness.

But those who have grasped it are doing pretty well. Amazon.com, for example is all about creating and preserving a flowing shopping experience — their One-Click feature is emblematic. Or Apple again, with the iPod and iTunes, which have transformed Apple’s financial performance.

Derek Sivers of CDBaby.com has some very insightful things to say about this in his blog entry Say No By Default, and there offers this quote from Steve Jobs:

“…we don’t want a thousand features. That would be ugly. Innovation is not about saying yes to everything. It’s about saying NO to all but the most crucial features.”

But wait… am I REALLY willing to pay for it? I just mentioned that Garageband is nearly free. From Apple’s point of view I certainly am paying for it. Garageband may be nearly free, but the Jam Pack I bought the other day to extend its instrument library cost $99, and there’ll sure be more of those in my future. Logic, also owned by Apple, is far from free, and Garageband is a very effective feeder for Logic. And for consumers, Garageband fits well with the whole iLife suite, including iTunes, iDVD, etc.

iLike it.

[Disclosure: I did a bit of consulting for Apple for their acquisition of Emagic, the maker of Logic, though at the time I was in the dark about what their plans were.]

Will you pay to flow?

David Battino

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Related link: http://www.boingboing.net/2005/03/24/early_apple_sound_de.html

Every time I talk with Jim Reekes, who shaped the sound of Apple for more than a decade, I’m astonished by his vision. But not only does he have brilliant ideas, he also has a knack for wonderfully sardonic sound bites:

  • On speaking out: “There’s a fine line between a bad attitude and an amazing insight.” (Reekes explains that the determining factor is usually whether someone asked for your opinion.)
  • On the futility of censorship: “Today’s perversion is tomorrow’s profits.”
  • On the record industry: “I will be dancing on the grave of little round pieces of plastic. Where did we ever get implanted with this need to buy what we’re hearing? It’s kind of sickening that music has become the Happy Meal.”

In yesterday’s Boing Boing cover story, Reekes—whose Apple business card read “Chief Ethics Officer” for a year until too many people complained—retells the story behind “Sosumi,” his notorious error sound. The links in the article add lots of fun detail.

What’s another joke hidden in plain sight (or sound)?

Eric Bell

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Related link: http://www.dvforge.com/jampod.shtml

The href="http://www.dvforge.com/jampod.shtml">JamPod by DVForge
is about to debut. It’s a simple concept - a small module that connects
your guitar, your dock connector model iPod, and your ears (through headphones)
so that you can jam along with whatever digital tunes your ‘Pod is packin’.
The amplifier and mixing circuitry inside the unit (which sports the currently
required hip ‘iPod bandwagon’ look) is powered directly by the
iPod - no batteries required. Now that’s
a welcome change. Just plug the JamPod directly into your iPod or iPod
mini, add headphones and a guitar or bass, and rock on out the door.

The device isn’t perfect, at least for what I would want to use it for
(more on that below), but the price is right- $29.95US. And, it’ll work
with any instrument that outputs a guitar-level signal through a 1/4"
plug.

So what would you play along with? Well….everything.
There is obviously a strong training and rehearsal application. You could
quickly download rough mixes of whatever songs you are working on and
do your woodshedding (or woodshredding) privately, wherever and whenever
you choose. You could grab quick digital recordings of lessons and rehearse
the techniques as needed.

Or, you could use what I believe to be one of the most valuable learning
techniques available- play along to recordings.

My nephew was learning guitar and I suggested he do what I spent hours
and hours doing - play along with whatever CDs or tapes you have. This
approach has some extremely useful qualities:

    type=disc>
  • It teaches you how to hear what a tune is made
    of - rhythms, time signatures, chord changes - and transpose that onto
    your instrument.

  • It teaches you to listen and to fit in.

  • It provides freedom to improvise over a strong
    musical base

  • You are forced to keep up, improving your speed,
    listening, and developing your chops

  • It’s damn fun.

When I was learning, I played along mostly to vinyl records. What made it work was that our old Dual turntable sported a pitch control, so I was always able to compensate for the inevitable tuning
differences between what was on the record, and my guitar.

And there’s the first problem with a simple system like the JamPod.
One option would be to pitch-correct your recordings before you dump them
to your iPod. For your own WAV based tracks, you can use whatever software
you’re running to do the job. For canned tracks, the simplest thing might
be to use a pitch control plug-in such as title="http://www.winamp.com/plugins/details.php?id=138562">Chronotron
for WinAMP which allows both pitch and tempo adjustments. The idea would
be to set the plug-in, then dump the playback to a new track. This is
admittedly tedious.

There are lots of inexpensive computer-based solutions for play-along
practice that allow pitch and tempo correction and add looping, vocal
removal, what have you. Renegade Minds’ title="http://renegademinds.com/Default.aspx?tabid=46">Guitar
and Drum Trainer 2
for example, has many options, and is free. And
then at the other end of the scale is the Tascam CDGT1 (which I would
have killed for 30 years ago, notwithstanding that I would have also had
to kill for CDs, which also hadn’t been invented yet, to go along with
it). This funky red-boy has a built-in CD player, does all the pitch and
looping tricks you need, and has a footswitch and tuner built in.

Taking a different approach, I was thrilled that my href="http://www.samsontech.com/products/productpage.cfm?prodID=347&brandID=4">Zoom
606
multi-effects pedal supports headphones through its output jack.
And dismayed when I realized there was no jack to input an additional
signal from a CD or MP3 player. It sure has tons of great sounding digital
effects but…sometimes you can’t just rock and roll all alone - you need
Jimi or Stevie Ray along for the ride.

And anyway, where’s the real portability in software, or bulky effects
or CD-based trainer boxes?

No, the tiny JamPod is on the right track. There’s a couple of other
things about it… making it self powered would let you use it with any
portable mp3 player or sound source. The href="http://www.dvforge.com/jamplug_main.shtml">JamPlug
fits this bill nicely for only ten bucks more. Add a portable MP3 player with a built-in pitch control and I guess it would work.

In any case, these are pretty cool little products, and I think DVForge is on the
right track.(In fact, they have quite a few cool little products, such
as the href="http://www.dvforge.com/plug.shtml">GuitarPlug and
href="http://www.dvforge.com/plug.shtml">MicPlug, which are small,
inexpensive adapters which digitize their inputs and output USB digital
audio to plug into your Mac.).

Really, here’s what I’d like to see.

Give me a JamPod or JamPlug with some digital audio smarts built right
in. Put the pitch correction circuitry on the line input jack, one or
two clean and two or three good distortion settings on the instrument
input jack and I’d really, really be impressed. I certainly wouldn’t expect
a $29.95 price tag on such a device, but a guy can dream.

What do you dream about
in a portable digital head-phone based guitar amp?

Robert Kaye

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I think this was probably the best ETech yet — I personally managed to achieve a more balanced ETech experience and all of the presentations I attended were right-on in their content and depth. As I suspected, the High Order Bits session format worked out really well — some sessions simply do not need more than 15 minutes to cover the basics of a topic. A number of the High Order Bits sessions opened my eyes to interesting projects that people are working on without getting bogged down in the nitty gritty details. Now I can choose to research these projects in a little more depth on my own time. A big thumbs up from me on the format change!

The gender balance of the past ETechs was improving, but I think this year it didn’t change much from last year. Apparently gender balance at ETech and SXSW was just discussed on the Many-2-Many blog. I’ve never had the chance to make it to SXSW, so I can’t really comment on the relative gender balance; all I know is that the gender (im)balance at ETech is about the same that I would expect to find in a Computer Science classroom in many universities in the world. A shame, but a dark reality of the comp sci world.

New to ETech was the Maker’s Fair, which I really enjoyed — and I hope that it will be back next year. ETech is steeped in talk of future systems and lots of other intangible projects that the average attendee will never have a chance to play with. The Maker’s Fair gave a bit more immediacy and hands-on feelings to ETech, which contributed quite a bit to an overall more balanced ETech experience for me. I can’t imagine what kind of a spectacle the fair would be after the Make magazine has a full year of publishing under its belt. I’ll be waiting in anticipation!

Lastly I wanted to mention that the BBC had a very strong presence at ETech — there were a number of presentations that made it clear that the BBC is thinking about and starting to apply emerging technologies at the BBC. Personally, I thought that old guard media companies like the BBC are dinosaurs that are waiting for extinction — that is certainly the case here in the US. But it’s increasingly clear that the BBC is keenly aware of its predicament and is working hard to make changes to preserve their relevancy. All the folks I met from the BBC and all the BBC presentations make it clear that there is a group of people at the BBC who are hell bent on changing the organization and who have already made some respectable progress. Please keep it up — the world will be watching your progress!

That leaves me with one last set of questions: If the BBC is out in force working to change itself, where are the other media companies from Europe that are also funded by taxpayers? The German ARD/ZDF was nowhere to be seen. What about the media companies from France, Belgium, the Netherlands and all the other countries that still collected taxes for televisions? Where were you and what are you doing? Do you have projects similar to the BBC’s Creative Archive? If not, I urge the people of Europe to start demanding access to the content that they paid for in the last decades!

And that’s it for ETech this year — thanks to Rael Dornfest and the entire O’Reilly crew for making this the best ETech yet!

What were your thoughts on ETech? How about the BBC and other media companies like it in Europe?

Robert Kaye

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Day 4 of ETech was just as energetic and caffeinated as the previous three days. As much as I love ETech, I am really looking forward to getting a full nights sleep when the conference is over. On day 4 I attended presentations that focused on human aspects — both from the personal perspective as well as the perspective of the people for whom we create web pages/user interfaces.

First up was “Life Hacks Live” by Danny O’Brien and Merlin Mann where Danny started out with reviewing the changes in the industry since his “Life Hacks” talk at the last ETech. A number of things he wished for happened (or were pointed out): Email search — GMail, Outlook search, Tiger spotlight; social filesharing for everyone — Flickr, Novell iFolder, Groove. And a few things didn’t: easy webscraping and intelligent keyboard macros for Win/Linux like Quicksilver for Mac.

Both Danny and Merlin had a good number of life hacks like 43 Things to share with us, but in the end simple advice such as “turn off the internet” and “shut off your instant messaging client” stuck with me. They argued that email and IM are primary causes for interruptions that detract you from getting things done. They both referred to the concept of flow, which is the state in which you are focused on a task and actually making progress on the task. Getting into flow takes some time — “Peopleware” suggest that it takes 15 minutes to get into flow. Danny and Merlin suggest that taking 30 seconds away from your task to answer an email is a lot more expensive than 30 seconds — more like 15 minutes and 30 seconds. To me, this is solid advice — I agree with what they are saying and I think I will make more of an effort to shut out distractions when I need to work on a long task.

However, in order to keep themselves on schedule Danny and Merlin used a kitchen timer to time 10 minute chunks of their presentation. They planned to cover 4 ten minute chunks for a 45 minute session and I think that should’ve been my first indication that things were about to go wrong. For the first two chunks both Danny and Merlin were quite on time — only seconds off. But when the third segment went over by at least 5 minutes, they didn’t adjust their timer and just kept going. No big deal — Danny and Merlin are funny and the next session is lunch, so there were no other speakers to encroach on. Once the session let out, a full 15 minutes late, Paul Hammond from the BBC walked up to me and said: “Isn’t it ironic that the people who are telling you to turn off your mail client in order to stay focused and get your stuff done would overrun their presentation by 15 minutes?” Yes, indeed it was. Danny & Merlin: I loved your presentation, but please loose the timer and pay attention to a clock!

Finally, I attended Matt Webb’s “It’s not rocket science: The brain for designers“. Matt’s talk was quite abstract and thus could be applied to many kinds of design — graphic design, web design and user interface design. Matt covered how the human brain deals with perception, attention and affordances. For each of these areas, Matt outlined how the various brain functions can be broadly categorized as fast and slow.

During the design process the designer should be aware of what brain functions are fast and which ones are slow. Most of the time the designer will want to create an effective design that maximizes the aspects that allow the brain to grok the design’s message quickly and avoid the aspects that are slow. While talking about perception Matt outlined how a designer can target fast perception by making visual elements of the design stand out more for the eye. For instance, when tasked with counting two types of circles where some where white at the top and black at the bottom and others were the exact opposite, the brain works slowly. Given the same scenario, but were the circles are smoothly shaded instead of black and white, the brain perceives some circles to pop out from the design and some to appear as divets in the design. Since the shaded circles are visually distinct, the brain can count them much faster than the unshaded circles.

Matt went on to outline similar brain functions in the areas of attention and affordances. The most eye opening bits for me were his points on attention — namely that it takes 10ms for the brain to switch its attention to another area. And once the eye has switched away from one area it doesn’t like going back to a previous area. Also, using attention takes time — he tasked us with finding a non-descript name in a list of names. He tricked us by including the name “Tim O’Reilly” two lines above the name he wanted us to find. Matt claims that the brain’s attention doesn’t work well for about 1.5 seconds after attention has been used. In this case, our attention is drawn to Tim’s name since we all recognize his name. Once we realize that this is not what we’re looking for we keep scanning, but the next two (or so) lines fall within the 1.5 seconds where our attention doesn’t work well, so we’re likely to miss the name we’re scanning for — at least in the first pass.

Matt offered up these 5 points to consider during design:

  1. Know what is easy and what is hard to sense (slow changes -> hard; fast and light changes -> easy)
  2. Avoid irresistible snags (flashing user interface elements draw the eye and may distract unnecessarily)
  3. Follow the physics of attention (switching your attention takes time, attention works badly for 1.5 seconds after attention was used)
  4. Accept that nothing is irrelevant (every element of the design is important)
  5. Possibilities are just as visible as color (the eye can pick up possible user interface elements quickly, so it is important to make clear which ones are important and should be used)

I’ll try and internalize Matt’s lessons more on the drive home and attempt to apply them to my current web and user interface design projects. I can already see a number of improvements I need to make in a few areas. Thanks to Danny, Merlin and Matt for teaching me a number of valuable lessons about my brain!

If you made it to these sessions, do you have any comments??

Robert Kaye

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Last night the O’Reilly team held the Maker’s Fair here at ETech, which celebrated the launch of O’Reilly’s new Make magazine by showing off some of the cool projects that you can find the in inaugural issue of the magazine. The fair was billed as: “… a science fair with a beer in one hand.” — but even that doesn’t quite capture the spirit of the event. The ambient noise level in the exhibit hall was a fair bit higher than the usual noise levels in the exhibit hall — you could feel the excitement and enthusiasm in the air.

Each of the Makers had a table where they could lay out their projects and next to the table was a sign that gave a brief introduction of the project. Behind the tables, the Makers were enthusiastically talking about their projects — the makers were sporting large smiles as they explained their gadgets/hacks — not unlike the parents of newborns. Maker Billy Hoffman was animated and excited as he decoded and revealed the data stored on the magnetic strips on ATM cards, plane tickets and whatever other mag strips that attendees gave him. Saul Griffith handed off a mini-marshmallow blow gun to a few kids at the fair and touched off marshmallow battles that lasted the entire event. Andrew ‘Bunny’ Huang spread a collection of circuit boards, hacked up X-Boxes and random tools on his table and explained the basics of hardware hacking. Toward the end of the evening, Bunny even started giving soldering lessons to a group of attendees.

O’Reilly gave me the opportunity to show off “Mayhem’s home water purification still” that I hacked up last year. I spent a good amount of time talking about my project, so I really only had a few minutes near the end the fair to check out all the cool creations from all the other makers. A few things that I saw very briefly:

  • A PC hacked into an old Atari game console.
  • A power generating bicylcle for use in rural india.
  • A collection of crazy iPod hacks for recoding high quality audio
  • Refurbished old audio amplifiers
  • Feral robot dogs

The Maker’s Fair was so much fun that I didn’t notice that two and a half hours slipped past. Kudo’s to the Make team for putting on this event — can we please do this again soon?

Did you make it to the fair? What did you think?

Robert Kaye

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Related link: http://rubyonrael.com/

Here is a little between-the-sessions humor that people are chuckling at here at ETech:

Click on the image to see the other version….

Are you a ruby on rails fan?

Spencer Critchley

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Related link: http://www.garageband.com/

Last week, as an experiment, I uploaded to garageband.com a song by an independent country artist whose CD I produced. Given that there are thousands of artists on the site, I assumed that not much was likely to happen, but I was interested in learning about how garageband works. Tomorrow (March 17, 2005), that song will be featured on garageband’s home page as track of the day. This happened because in the course of a few days the song leapt from the bottom of their country charts, down around about #1800, to #35.

With no promotion whatsoever. How?

Well, as near as I can figure, a lot of people just thought the song was good. And, better than many similar sites, garageband.com has built a system where that’s just about all that matters. It’s a well-designed digital meritocracy, a large online community of people who vote on music based solely on how it sounds: when you review a song there, you don’t know what the artist looks like, or even his or her name, until after you express your opinion. And then, your review gets reviewed! Just to make sure you’re being conscientious about it. (Garageband.com describes the process like this: “Our complex algorithms, known as the LPE (Lathroum Preference Engine), rank all songs based on listener ratings… the best songs receive more reviews and move up the charts.”)

Utopia? Maybe. A business? Open to question.

The artist I mentioned is named Bo Billy, and his song is called “For The Life Of Me.” If Bo Billy were on a major label and things were being done the traditional way, the radio promotion budget alone for “For The Life Of Me” would probably be well into six figures — just to persuade major radio stations to play it at least a few times. That, along with a national tour, a publicity campaign (interviews, articles, talk shows), a video and some advertising, is commonly understood as the cost of trying to get the market’s attention. More to the point, though, it’s the cost of turning an artist into a celebrity.

On garageband.com, you can join for free, and then you can upload a song for free. But before you upload you have to review 30 other songs first. Then you essentially join a giant conversation about merit, among your peers.

But the point of our celebrity-driven music business is that the celebrity is not your peer. And while he or she may well have merit, merit is not what makes a celebrity. A celebrity is a forever-receding object of desire, and acts out a role in an ancient, atavistic ritual based on sex, death and transcendence.

I love garageband.com, but I’m not sure they can compete with that yet.

Can anything?

In its first iteration, garageband.com flamed out in the dot-com crash. It had been offering a $250,000 recording contract to its top artist every two months. That may sound great, but it also dropped that artist right back into the old music industry, and that $250,000 (plus a bunch of other expenses) was not going to be recouped unless that artist became… a celebrity. New CEO Ali Partovi says that the old strategy was unsustainable, and that the new one emphasizes promoting top garageband.com artists to Internet radio, bypassing the expense and inefficiency (and, for now at least, revenues) of physical CD sales.

Note: This is a corrected version of my earlier posting. Thanks to garageband.com CEO Ali Partovi for getting in touch and correcting my mistake.

Will technology really make celebrities go away?

Robert Kaye

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It truly feels like ETech today — I’m underslept and over-caffeinated at medium levels. Tomorrow is not going to be pretty — tonight the Maker’s Fair will go until late and then Larry Lessig speaks early in the morning. I predict dangerous levels of caffeine for tomorrow. About par for the course for ETech.

Today was just as action packed as yesterday — the high order bits sessions focused on emerging technology in the classroom as opposed to the research labs from the search companies. We heard about a number of cool projects happening in Tom Igoe’s Networked Objects classes at NYU’s ITP program. For instance, one student was fed up with walking around with an open laptop in NYC’s freezing weather while trying to find a wireless network connection (this was before keychain WiFi sensors). So she decided to build an attractive WiFi sensing purse — both practical and athestically pleasing.

Another student project was a little bit more off the wall — the assignment was to create a piece of furniture that chats in a chatroom. The students rose to this novel challenge by creating the junkie’s little helper. The helper is a medicine cabinet that monitors the stash of Courtney Love’s illegal drugs in the cabinet. If the stash gets low and Courtney says anything in the chatroom, the bot will chime in with a “Don’t listen to her! She is high!” And should the stash of drugs gets really low it will automatically call the ambulance. I love it! Why couldn’t my instructors in college give such cool assignments?

Tom Hoffman and Tim Lauer told us about their projects to introduce Wiki’s into Portland, Oregon classrooms. After much research and some hassles in dealing with the school’s inflexible IT department, Tim and Tom settled on using Instwiki on the teacher’s iBooks because the IT department refused to setup a dedicated server for hosting the Wiki. Once the system was in place, the students were taught to create their writing assignment in the Wiki that is running on the teacher’s iBook, and the teacher could then use the Wiki to grade and comment on the student’s writing by taking home the iBook and using it outside the classroom. While these are baby steps for introducing emerging technology into the classroom, it its a step in the right direction nonetheless. Ironically enough, the students took to the new system with ease, but the teachers took a little more time and effort to adapt to the new system.

Then later in the afternoon, Clay Shirky talked about the difference between ontologies and folksonomies in his “Ontology is Overrated: Links, Tags, and Post-hoc Metadata“. With his usual flair Clay delivered a great overview of classic ontologies and all the issues that limit their usefulness on the Internet. Clay gave the classic example of the Dewey decimal system that has a dozen or so categories for Christian religions books, but only a single category to emcompass all of the worlds remaining religions. This may have been appropriate at the time when Dewey created his decimal system, but in today’s globalizing world it is not acceptable to lump 95+ percent of the world’s religions into one category.

Clay went on to outline the conditions under which classical ontologies can thrive:

  • Domain: small corpus, formal categories, stable entities, restricted entities, clear edges
  • Participants: Coordinated users, expert users, expert catalogers, authoritative sources

In a nutshell, ontologies work best in small and controlled environments where experts are using the system. Unfortunately, the Internet is the the exact opposite of all of these. And thus, argues Clay, ontologies are not suited for the Internet. Fortunately, the Internet has brought us a solution to all these problems in the form of Folksonomies.

A folksonomy is an organic categorization system that Del.icio.us and Flickr have pioneered. The basic idea is that any user can apply any number of tags (read: words) to a bookmark or picture. Then people can view all the bookmarks/pictures that have a given tag applied to them. This very simple and intuitive process is what Clay called Voodoo Categorization because it brings order out of chaos by sheer magic.

Clay further elaborates that folksonomies are borne from individual motivation, such as users tagging their pictures in Flickr in order to be able to find them again in the future. This individual motivation brings about group value in that when all the tags are considered in aggregate, an ad-hoc classification system emerges that allows users to browse/search a large body of information with more context than a traditional text search.

Overall, the ad-hoc nature of a folksonomy is perfectly suited to the bottom up and ever changing nature of the Internet. While folksonomies are not perfect, their benefits drastically outweigh their drawbacks — at least when applied to chaotic systems like the Internet.

And with that, I’ll take in one more session and then prepare for showing off my own “Home water purification still” at the Maker’s fair tonight — I’ll post more about the fair tomorrow.

Do you have any thoughts about emerging tech in the classroom or folksonomies?

David Battino

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Related link: http://digitalmedia.oreilly.com/2005/02/23/mp3_embed.html

After reading my article “Build a Simple MP3 Player for Your Site,” a visitor asked if it were possible to use the technique to create a streaming media player on the fly.

It is. The technique in the article simply pops open a window with an embedded media player when someone clicks a special JavaScript link. You can embed whatever you want in the window. To play formats like RealAudio, you may need to change the embedding code in the external JavaScript file. There’s some sample code here that may be useful.

But I just tried the current code, using an m3u file instead of an MP3, and it worked fine. (An m3u file is simply a text file containing the URL of the MP3 and the extension .m3u.) In fact, using an m3u link even cleared up the stuttering problem I had experienced with some MP3 files on the Mac.

If you do decide to stream MP3s, though, you should probably provide low-bandwidth versions for dial-up visitors. In “The Real Secret of Streaming MP3s,” Emmy-nominated sound editor Skip Adams recommends using 16kbps, 11kHz mono files.

Update, May 1, 2006: See my comment below about adding an additional parameter to prevent the missing plug-in error on some browsers.

How are you presenting audio files on your site?

Robert Kaye

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Related link: http://conferences.oreillynet.com/cs/et2005/view/e_sess/5981

As you may know, I’ve given up on listening to the radio in this country. My friends from Germany were trying to listen to the radio in the car on the drive to San Diego and asked me a question about the FM receiver in my car. I just shrugged and responded that I’d never used it before. This is why I was surprised when the presenters stated that radio in the UK is re-emerging.

But now after the session I am pleased to report that radio is not dead and that radio may still have a chance — at least in the UK. The first thing outlined was BBC’s 10 Hour Takeover, where the BBC 1 radio programming was put into the hands of listeners for 10 hours during a recent holiday. Listeners could send in their play requests via SMS on their mobile phones to the BBC and the BBC would play it. No rules on what kind of music could be requested — if the BBC had it and enough people were requesting it, they played it. What a concept!

The BBC interactive team developed software to retrieve, parse and tally the incoming SMS messages into a coherent playlist that the DJs would then broadcast. This is far from a trivial task, since parsing (near) free form text to extract a track name and an artist name is not a simple task — especially via SMS where people are used to using abbreviations for event the most common words. I won’t get into the greater details of how they implemented the system, but here are some buzzwords for you: SMS, XML, FTP, SQL, text indexing and a web interface.

The upshot is that the project was a huge success — a vast number of people participated and sent in their requests. The project was so successful that it has been repeated on two other holidays. After the session, an audience member asked if the resultant playlist differed much from the normal BBC 1 playlist and the answer was: Yes. At first people starting requesting the usual music that BBC 1 would play, but the team initially preferred tracks that were more off the beaten path. But once listeners understood that the sky was the limit, the requests became very different from the normal playlist.

I’m pleased to see that the BBC is thinking about approaches to reinvigorating radio. The team laid out their principles as follows:

  • An individual should be rewarded for participating
  • Contributions should provide value to others
  • The BBC should get value from the service and expose that value back to the contributors.

When comparing these principles to the principles in use by US broadcasters (read: increase shareholder value, regardless of what our customers think) they are simply revolutionary. I do hope that these principles are not a fluke at the BBC and that the results that came from them will be broadly applied at the BBC.

The remainder of the presentation covered two other projects at the BBC: Phonetags, which applies the principles from above using a del.ico.us tagging folksonomy to provide music bookmarking, tagging, organizing and sharing. The presentation also covered group listening which aims to apply the above principles to collaborative listening to gather more relevant data about people listening to music. In a lot of ways it sound similar to what last.fm is doing with their Audioscrobbler and personal music channel projects.

I can only hope that some folks from US radio companies are paying attention to the BBC. If you aren’t you’ll be out of a job soon!

Did you catch the 10 hour take over? If so, what did you think about it?

Spencer Critchley

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When we try a new technology, the technology changes us. This pattern apparently goes back to the invention of agriculture, which led us to start living in cities (to store & trade crops), to invent writing (for tracking transactions) and… become accountants.

Using technology always carries the risk that the technology will make you more like it — think of how much subdivisions, highways and cubicle farms mirror the structure of industrial processes. But if, after diving into the technology, you can pull back, you may find that you can become more human.

I’ve been reminded of this phenomenon lately through using Antares Auto-Tune. I frequently record song demos in Nashville, where Auto-Tune is routinely used to fix minor pitch problems. Although over-use of Auto-Tune bothers me aesthetically, I figure that on some projects, especially demos, there’s no point making the singer redo a passage if the performance was otherwise good. The risk with Auto-Tune is that as we become used to perfect tuning, we’ll adjust everything to robotic perfection and forget about the nuance that made people like Frank Sinatra and Ray Charles so great.

Here’s an example of that risk: Recently I happened to hear a Paul Simon song on the radio — I think it was from Graceland. A slightly suspect note went by and I found myself thinking “Wonder why they didn’t fix that?”

What?

Paul Simon is brilliant. Graceland is amazing. Why am I thinking about fixing it instead of just enjoying it? This is brain pollution.

So that’s an example of going too far with technology — and starting to turn into a machine. But, if we pull back a bit…

Because of Auto-Tune, my ears are better than they used to be. They used to be not too bad, but they’re better now, because of the time I’ve spent making fine adjustments to notes that started out as close to perfect in the first place (Nashville demo singers are awesome). So if, instead of choosing to fix the life out of everything I record, I just accept Auto-Tune’s gift of helping me hear better (and maybe use it to fix things where it makes sense to fix them), my musical life is richer.

I’ve noticed, post Auto-Tune, that my appreciation of a bent note is deeper. So on the one hand it scares me to think what might have happened if Auto-Tune had existed when Ray Charles was recording “Georgia On My Mind”. But on the other hand, in watching and listening to the DVD of Ray recently, I really think my pleasure was that much greater because of the extra bit of discernment Auto-Tune gave me.

Just got to measure out that bungee cord, and snap back at the last moment.

Have you narrowly avoided turning into a robot lately? Please share.

Robert Kaye

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Today ETech kicks into high gear with the start of the keynotes, sessions and high order bits talks. As I mentioned yesterday, the high order bits talks are short 15 minute presentations that everyone attends, and after the first round of these I’m quite pleased with this new format for ETech. This mornings’s high order bits sessions introduced the conference, the O’Reilly Radar where Tim and Rael covered the current topics on the radar for the O’Reilly team and a number of talks that focused what Yahoo, Google, Microsoft and AT&T have kicking around in their labs.

At first, I didn’t really understand the Remix theme for the conference, but after listening to Stewart Butterfield talk about Flickr and Brendan Eich talk about Firefox things started to click. The key to remixing these two different applications comes from the customizability and openness. In Flickr’s case, Stewart attributed the success of capturing the imagination of it’s users to Flickr’s web service. The 62 functions that make up Flickr’s web service allow thrid party developers to create custom applications that extend the functionality of Flickr, which in turns build a community around the company.

Flickr fans have written tools to upload pictures from Linux and a cool color viewer that shows Flickr images that have the similar overall color. There are two applications that map where pictures have been taken to a map of the world. All of these applications were created by third parties and didn’t involve Flickr other than using the service. These third party developers are in essence remixing Flickr from the outside. This is cool stuff that is part of an enlightened business model — Flickr has more buzz and mindshare than their competitors because of their open strategy.

While Flickr shows off a web service model, the suddenly popular web browser Firefox shows how end users can remix a desktop application. Brendan Eich presented a quick overview of Firefox’s component architecture and techniques for extending and customizing the browser. Firefox was designed to be flexible and extensible by using the XUL XML/JavaScript framework that allows the user to create customized applications with Firefox — not only extensions for the web browser, but whole new applications. XUL hacking is limited to techies that like hacking/programming and not the actual end user — but it is clear that starting with a flexible base allows you create a flexible application.

Firefox by itself is a fairly bare-bones browser and when the user installs extensions, the user remixes the browser by plugging in the various add-ons that they would like to use. Instead of shipping a huge browser that does everything, the Firefox team chose to keep things simple by shipping a stripped down browser that is expected to be remixed by the user. This final result is drastically different from other browsers that aim to be everything for everyone. Developers have flocked to Firefox because of this openness, and IT professionals are embracing Firefox because they can tweak the browser to their organization’s needs. All this is good for end users, because Firefox has plenty of mindshare and plenty of people hacking on extensions to make it even more customizable and flexible.

So, after two high order bits sessions I understand the remix theme. I also keenly understand the relationship between open and flexible systems and building a community around your product. If you wish for people to embrace your product, ensure that it is open and that people have the tools to extend your product. Locking down your product and securing it with NDAs and other legalese will only turn off third party developers and thus your end users.

Really, I knew this before I walked into these sessions. But somehow this knowledge seems a little more visceral than it did before — then again, I expect that from ETech.

What’s your take on the Remix theme?

Robert Kaye

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Related link: http://conferences.oreillynet.com/cs/et2005/view/e_sess/6242

If people say the the journey is half the fun, they’ve never battled LA traffic on their way to ETech. I know that ETech will be tons more fun than being stuck in traffic — hands down. On the drive to San Diego I was pondering my past ETech experiences and how I could avoid some of the frustrations that I encountered when I was faced with too many enticing sessions all happening at the same time. Inevitably I try to take in as much as I can at ETech, but that is about as successful as taking a sip from a firehose. There are always too many cool sessions and too many cool people to possibly take it all in. C’est la vie!

My plan for this year is to attend fewer sessions but pay closer attention to the sessions I do attend. Given this resolution, I was quite pleased to see the new format for this year’s conference. There are fewer 45 minute sessions that run in parallel, and more high order bits sessions that are a cross between 45 minutes sessions and lightening talks. Each of these sessions is about 15 minutes long and attended by everyone at the conference.

I am excited by this new format — it should cut down on the sheer number of sessions that conflict with one another and allow me to pay attention for longer. 15 minutes per subject is enough to get the idea of what is going on, but not long enough to get distracted with silly things like answering email. I have high hopes for this new format — we’ll see if it can help me stick to my resolution. I’ll report back on this after the conference.

Now on to the Hack Sci-Fi Features into your Car tutorial — presented by Damien ‘hack your car‘ Stolarz and Raffi Krikorian. First, Damian and Raffi covered the basics of hacking your car by presenting the relevant standards, car buses (ODB-II, MOST, CAN), hardware terms and off-the-shelf computer components designed for car use. After this introduction, some basic issues about 12 volt (12V) car electrical systems were covered.

12V electrical systems are pretty simple and straightforward when compared to high voltage AC systems, but they do present a number of pitfalls and downsides. For instance, the 12 volt battery in your car powers the car’s internal electrical system car, so you don’t want your onboard entertainment system to drain the battery so you can’t start the car. You also get quirks such as the 12V power in your car being interrupted when the car is started, since the starter motor requires all the available power when it turns the motor to start the engine.

Fortunately, hacking your car is not terribly difficult. After being in charge of the electrical system for an art car at Burning Man, none of the things that Damian was talking about were significant challenges. Though the standard precautions of safely working with electrical systems apply — no one wants to see their hard work (and perhaps their own lives) go up in smoke.

The field trip to check out the 2005 Dodge Caravan and the 1950 Nash Ambassador really opened my eyes. While the Nash had higher coolness factor by having high tech hacked into and older car, the Dodge Caravan was the cooler of the two in my eyes. In the space of two days time Damian hacked a Mac Mini into the dash of the Caravan and connected a simple off the shelf flat screen panel to fold down from the ceiling of the van.

None of the fancy hardware that Damian previously talked about was part of this hack — it was a standard Mac Mini, a power inverter, a cheap flat panel screen and a X10 webcam. Such standard components give this souped up mini-van DVD playback, HD-TV capabilities, a rear facing web cam to see the cars behind you, and XM satellite radio integration. All with parts not designed for car operation and all hacked together with very simple knowledge of 12V car power systems. Simple and cost effective. A comparable after market car system would cost $2000 where this hack came in under $1000. And which after market car system would let you run OS X??

In the end I realized that this entire system was a completely parallel system to the car’s own computer. While it would be possible to hack ODB-II support into a Windows based OS, the integration with the car’s internal computer would still be of limited use, since the internal car buses are primitive compared to the entertainment system that was hacked in after market. It is really sad to see that car manufacturers continue to build cars with closed systems that do not allow users to extend the capabilities of their own cars. I wonder if some car companies will wake up and realize that some people would pay extra to be able to hack their own cars.

This tutorial was certainly an awesome introduction to this year’s ETech — I can’t wait to see what other goodies the O’Reilly conferences team has in store for us this year. Stay tuned — I plan on covering all three days of the conference here.

Have you done any cool car hacking? Please share!

Rick Jelliffe

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Smart government standards-leaders, implementers and technocrats should be alerted to the Irish Government’s Reach Interoperability Guidelines (RIGs). These are profiles of the W3C recommendations: dumbed-down subsets aimed at being more useful and usable.

The key quote is Simply naming a set of W3C /OASIS / IETF recommendations will not produce interoperability.

Also Any existing interoperability standard that has not been through at least one profiling phase is unlikely to have been proven in the real world and thus should be treated with caution!

Published so far are:

  • RIGs Terminology. (RIG 1).
  • XML 1.0 Profile. (RIG 2).
  • XML Namespaces Profile. (RIG 3).
  • Schema Languages Recommendations. (RIG 4).
  • Unicode and Internationalisation. (RIG 5).
  • Draft - Versioning. (RIG 6).
  • Draft - Interoperability Theory and Practice. (RIG 12).
  • Draft - Reach Envelope. (RIG 100)
  • Raser Agriculture: Message Service (RIG M005)
  • Raser Revenue: Message Service (RIG M006)

…With a few dozen more on the way. A few technical papers are pretty interesting: Push Pull Overview talks about why to favour pull delivery of XML messages rather than push delivery. Actually, originating services push to the broker and receiving services pull from the broker. A little bird told me that this kind of dual queued messaging didn’t necessarily fit in with the off-the-shelf capabilities of the current products lines of at least two of the big players,
but the customer is always right.

While I would quibble about a couple of details (who wouldn’t?), the RIG project itself is a really
positive step in the maturity of XML. And an exemplar for other goverments and their customers.
Some things are Irish and non-applicable: the details in internationalization guidelines, for example.

Quibbles? Unicode is not a subset of ISO 10646; also, does the Namespaces profile contradict itself
somewhat by advising Restrict namespace declarations to the root-element only but then there is no way to avoid namespace bleed other than to avoid namespaces on the root element of the Reach Envelope?;
and the decision to avoid PIs knocks out using the profile with built-in stylesheets,
such as CSS and XSLT, as it stands: but perhaps this is sensible.

A prose detective might find Sean McGrath’s cadence throughout the RIGs, and they are a delight
to read on style alone. For example, the word consolidation is used to describe what a profile does:
so much better than simplification, which which is rightly an effect, not a cause.

And a double thumb’s up for the mention of Schematron: when Schematron makes it through ISO then the RIG people will probably profile it too.

Also this was heartening to read, for the harmless drudges who make and review standards: Other would argue that the ponderous, deliberate work that goes into these (…large failed…) standards serves the vital role of acting as “idea pools” for smaller, more pragmatic standards. Evidence supporting the latter view can be found in the fact that the DSSSL standard (from ISO), inspired much of XSLT (from W3C) and SGML (again from ISO) directly begat XML (W3C).

Related link: http://sdec.reach.ie/rigs

Robert Kaye

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Related link: http://www.steelgryphon.com/blog/index.php?p=37

The recent Slashdot post about the Firefox development process troubles resonated strongly with me and strangely enough gave me some warm and fuzzy feelings:

This is bugging me, and its been bugging me for a while. In nearly three years, we haven’t built up a community of hackers around Firefox, for a myriad of reasons, and now I think we’re in trouble. Of the six people who can actually review in Firefox, four are AWOL, and one doesn’t do a lot of reviews. And I’m on the verge of just walking away indefinitely, since it feels like I’m the only person who cares enough to make it an issue.

This does sound painful, and all too familiar.

For a number of years we’ve been working hard to get some open source developers interested helping out with the MusicBrainz server development. The MusicBrainz server is a complex piece of software that requires a serious effort to setup and install. While our lead server developer Dave Evans has made massive strides in cleaning up and extending the crappy codebase he inherited from me, it is still a complex piece of software and there is little we can do about it.

Thus it’s hard to attract people to come work on the project — much like Firefox. Seeing a massively popular project like Firefox suffer from these same problems gives me the warm and fuzzy feeling only in the sense that we’re not alone. For a long time I attributed the lack of developers joining the project as my own personal failure to do a good job of recuiting. But now with more input, I’m starting to change my tune a bit.

I’m starting to believe that it has to do with complexity. We all know that “Any sufficiently advanced technology is indistinguishable from magic“. I think in the case of open source software development we can also say that “Any sufficiently complex project is indistinguishable from magic.” Any newbie programmer who looks at a complex piece of software like Firefox is bound to be overwhelmed and is likely to walk away to work on something simpler.

It takes a person with very specific skills and intense dedication to work on a complex project, and people who possess those skills often start their own projects as opposed to hitching their wagon to someone else’s project. When Firefox complains that it can’t find people to help peer review the code, it’s not surprising. There are few people who have the overall knowledge to code on the project and even fewer with the experience to peer review a piece of code. And coding is always more fun that reviewing code.

Today, Slashdot posted a follow up entry that concerns the Mozilla Suite:

Discussion on the newsgroup focused on the fact that nobody was currently taking responsibility for the suite (code-named ‘SeaMonkey’). As developer Robert Kaiser put it, “What we badly need is an active core developer group and an ‘app czar’ or project leader”. Fellow developer and MIT graduate Boris Zbarsky answered the call, saying: “Absolutely. Do you have people in mind who have time to do this? If so, I’d love to know who they are. They are sorely needed.”

Oh the pain — I feel it! If complexity wasn’t enough, time is another ugly factor. Dealing with complex systems takes serious dedication of time. And a serious dedication of time usually comes from being addicted to a project. But how can you become addicted when its too complex to wrap your head around in the first place? Chicken? Egg? Bah!

Complex open source projects need to be multi-year projects. Take the Linux kernel for instance. When Linus first released the kernel it was a small piece of software that appealed to a bunch of hackers who ordinarily deal with complexity, and thus Linus got uptake pretty quickly. Now that the kernel is one of the most complex pieces of open source software, there are many people working on it — but it took many years of hacking and small steps to build this large base of contributors.

Both Firefox and MusicBrainz need to work hard to cultivate more developers. It takes effort and most important, it takes time — lots of it.

Do you have any insights on how to recruit OSS developers into complex projects?

Bruce A. Epstein

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Related link: http://www.oreillynet.com/pub/a/network/2005/03/08/softwarepatents.html

This blog entry is in response to
Software Patents in the EU: A Perspective on the European Computer Implemented Inventions Directive

Like almost everything I’ve read on the web in regard to patents, the preceding article is full of inaccuracies and opinion masquerading as fact. Let’s not throw the baby out with the bath water. A poorly implemented patent system is bad (agreed!). But the solution is to improve the patent system, not simply discard software patents. (Disclaimer: I have a patent pending on some online collaborative database software that I’ve designed. The patent wouldn’t cover all databases or online collaboration. It is more narrow than that, but the details aren’t important for the purposes of this discussion.)

Here are some points of the aforementioned article with which I take issue:

1. The authors write: “For small and medium enterprises (SMEs) and in particular, free software projects, there is much to lose.”

While patents can have negative effects on the activities of some software developers, one could also argue that software patents can help protect the inventions of smaller software companies. If Microsoft was free to imitate any software without regard to patent licensing, what would prevent them from crushing anyone who invented anything novel in software?

2. The authors write: “The argument over the directive revolves around the question of whether or not we should be able to patent physical inventions that use software–such as a traffic light system–and whether or not we should be able to patent software itself. Most anti-patent groups accept that the former should be patentable, while the latter shouldn’t. If it were, then inventions such as the progress bar would be patentable.”

It is not accurate to say that the progress bar would be patentable. To be patentable in the US, an invention must be novel and non-obvious. Something as trivial as a progress bar might well not (indeed should not) meet that standard.

3. The authors write: “Patents were originally introduced to protect concrete and physical inventions.”

Actually, patents (and copyrights) in the US are authorized by Article I, Section 8, Clause 8 of the US Constitution:

“Congress shall have the power to promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries”

Nowhere does it say that inventions must be concrete or physical. In fact, it says “discoveries”, and it would be hard to argue that computer programs are neither science nor useful arts (in fact, they are both). With regard to copyright, the original citation mentions “writings” and not pictures, videos, and music, and yet those are still afforded copyright protection in the US. So it is reasonable to assume that the definition of an “inventor” or “discovery” should also change with the times. I believe that the Bessemer steel process, for example, was patented, even though the process is not physical but rather produces something physical.

3. The authors write: “Any type of state protectionism is a contract between the creator and society, under which society abridges certain freedoms in return for increased productivity through financial compensation.”

I disagree. It is a stretch to claim that respecting the rights of copyright and patent holders amounts to an abridgement of freedom. By that argument, I should be able to steal your bicycle because not being allowed to do so abridges my personal freedom. Richard Stallman (RMS) argues that bicycles and software are inherently different, because taking your bicycle deprives you of your bicycle whereas appropriating your software does not. This is untrue, because if I choose to sell my software, I can use the money to buy a bicycle. So freely using software can, in many cases, lower the value of it to the creator.

4. The authors write: “Specifically, patent law gives inventors an exclusive right to new technology for 20 years in return for publication of the technology’s specifications and for use of the technology in the monopolist’s products.”

That isn’t accurate. There is no requirement that a patent holder use the technology. And having a patent does not make someone a monopolist (a monopolist must have power over a market, and few software patents define an entire market). Furthermore, there are exceptions to patent law. For example, under US law, you cannot patent a nuclear device, and the US Gov’t can manufacture whatever they like without regard to whether it is patented (or licensed) if they deem it in the national interest. For example, one company invented a configurable splint that they wanted to license to the military. The military contracted with another vendor to manufacture it without paying the patentee a license fee. But yes, having a patent does give you some rights if someone else infringes on the patent. Regardless, the gov’t doesn’t enforce the patent for you. You still need to do that on your own dime. (It isn’t akin to the way that I can call the police to arrest a tresspasser on my property.)

5. The authors write: “So allowing patents wouldn’t lead to increased productivity, and they wouldn’t benefit the whole of society; they would be a bad idea.”

Huh? I don’t see how that follows from the preceding text. Patents encourage investment by giving the inventor some protection against people copying his/her ideas. You might argue that invention would take place without such protection, but it is certainly up for debate. Does anyone think that the software and web industries would exist in their current state were there no financial incentives? Certainly patents aren’t the only financial incentive (nor should they be) but they have a place in a healthy ecosystem.

6. The author writes: “While traditional patents were for concrete and physical inventions, software patents cover inventive ideas. An example that the Foundation for a Free Information Infrastructure gives is that, instead of patenting a specific mousetrap, you patent a “means of trapping mammals” or a “means of trapping data in an emulated environment.”

This statement is highly misleading. A well-written patent application (from the standpoint of the applicant) is as broad as possible. If I invented a “mousetrap”, I would be foolish to patent it as such. For maximum protection, I should patent it as an “animal trap” so that a competitor couldn’t simply claim that his version trapped rats instead of mice. Likewise, if someone patents a gun, they don’t patent the gun for a limited target, they try to patent it for all applicable uses. That is why patent applications read as broadly as possible. This is not limited to software patents.

7. The authors write: “This is not appropriate for software development, where innovation occurs rapidly, can be made without a substantial capital investment, and tends to involve creative combinations of previously known techniques.”

Innovation occurs rapidly in many sectors. There are thousands of patents that apply to bicycles, which have been around for well over 100 years. Some software development takes huge capital investments (or the equivalent in time). The fact that people are willing to write software for free doesn’t mean I can develop software at no cost (open source developers tend to write software to meet their own needs, not that of some company’s business plan). Furthermore, “creative combinations of previously known techniques” are generally not patentable or difficult to patent at best. By definition, if the techniques are previously known (or at least known to the patent examiner), they are not patentable. Even the patent applicant has a fiduciary obligation to reveal known “prior art” as it is called. Then, the applicant must show how the prior art doesn’t apply to the new invention and/or how the new invention is a non-obvious application/combination of prior art. Regardless, even if such a patent were granted, it generally affords very narrow protection for a very specific use.

8. The authors write: “For SMEs (who make up the majority of the industry) and free software projects, patents on pure software would be a disaster.”

On what basis do you make that claim? The US offers software patent protection, but the industry is not a disaster.

9. The authors write: “But for some big businesses, they are a lucrative prize.”

That is true. IBM makes a lot of money licensing their patent portfolio (several billion $). But there are many lucrative business prizes. Software patents is one that has not slowed software development in the US as far as I can tell. Are you seriously claiming that software developers do a patent search before deciding whether to use a particular technique? It simply doesn’t happen that way in reality.

10. The authors write: “With our economy increasingly dependent on knowledge, there has been a large movement towards increasing protection on information with copyright, patents, trademarks, and other legal means, misleadingly grouped together under the term “intellectual property.” ”

What is misleading about that? And, BTW, you mean “trade secrets” not “trademarks”. Trademarks have nothing to do with intellectual property. And, FYI, the US gov’t offers no protection for trade secrets. Anyone who can discover them without breach of contract or other illegal activity is free to use a trade secret once it is no longer secret.

11. The authors write: “Patents are another way for some big businesses to “protect” software in their interests.”

Patents are available to small businesses as well. This isn’t poliitical payola we’re talking here. If I recall correctly, some of the US patent filing/application fees are actually cheaper for small businesses.

12. The authors write: “Though there hasn’t yet been a concerted attack against free software using patents, there have been many attacks on SMEs. If any big business needs to remove competition and is failing to do this by beating them on price, quality, or free licensing, then they can simply attack them with their patent portfolio.”

This is a very specious argument. If a company is not infringing on another company’s patents, then they can’t be easily “attacked with a patent portfolio”. If a company is infringing on another’s patents, then why shouldn’t the patent holder be allowed to recoup its investment without being undercut by copycats? You’re implying that every innovator is bludgeoned by a big software company. That simply isn’t true. (I’m equally suspicious of companies like Microsoft that claim they lose billions to piracy, because most of those pirates wouldn’t ever buy the software.)

13. The authors write: “Even more worrying are the so-called “patent trolls” like Acacia Technologies, which “develops, acquires, and licenses” patented technologies, using them to extract licensing fees out of software developers, but who do not actually produce any software. The company is opening an office in Europe in the spring with the intention of demanding royalties on patents.”

This would seem to be the great equalizer where a small company would be able to enforce its patents against a larger, well-financed company. Why should Acacia be expected to produce software? They’re not a software company. That is like calling a banker a troll because he underwrote a software company’s IPO without creating software.

14. The authors write: “Since software, especially free software, is usually based upon a huge number of sub-programmes and ideas taken from other programmes, it would be extremely difficult to avoid patent infringement.”

The fact that programs are often based on earlier work is a testament to the thriving ecosystem that has developed. Many patents have been around long enough that the patent protection has expired, and they are therefore now in the public domain. I don’t understand what makes you think you have an unfettered right to take ideas from other programs without the inventor’s consent. First of all, the vast majority of software development is not patented. If you can demonstrate that the “invention” existed before the patent applicant invented it, then it is “prior art” and the patent should not be granted. If it has been granted, it can be overturned. The trouble is that patent examiners are not familiar enough with the prior art. Therefore, I’d recommend a public comment period and/or a large public prior art database to facilitate stricter standards for the issuance of patents. IOW, there are ways to fix the system without trashing it altogether.

15. The authors write: “However, under the U.S. system, SMEs have been restricted due to large companies building up patent portfolios that they use to reap billions in licensing revenues from other businesses.”

Unless the licensees are using the product to make money, they probably aren’t bothering to license it. Can you name a single open source developer paying licensing fees? Why shouldn’t other businesses pay for the right to use another companies software? (BTW, most large companies cross-license portfolios rather than paying large fees outright.)

16. The authors write: “The idea of selling products over the Internet has already been patented in the U.S., and Amazon used its “one-click buying” patent to famously sue Barnes & Noble in the late 1990s.”

Without exception, every time I’ve investigated these public claims, they turn out not to be an accurate picture. To my knowledge, no one in the US has paid any licensing fees for selling products over the internet. I’m sure there are many patents that “sound” like they cover internet commerce but are in fact much more narrow in scope than you describe. But many of these are so-called “defensive patents”. A large company will apply for a patent to avoid having some other company claim they infringed. But everyone in the US still buys and sells stuff on the internet without paying licensing fees. (You find much greater limits caused by, say, taxation than software patents.)

When a company tries to enforce an overly broad patent (which is rare), the whole industry gets in an uproar, prior art comes out of the woodwork, and the would-be patent enforcer backs down. So it simply is not true to suggest that whole segments of software development are being hijacked due to patents.

The one-click patent dispute was very specific (it wasn’t as broad a patent as many public commentaries claim) and Amazon was merely trying to protect its turf against a “me-too” competitor. Why shouldn’t Amazon be rewarded for innovation? Why should B&N be rewarded for merely following everything its competitor does? You might argue that Amazon shouldn’t be given a 20-year head start, and I agree. A software patent term of, say, 3 to 10 years might be better. But it really depends on the technology. Some take much longer to take hold.

17. The authors write: “Examples of currently granted European Patents are EP803105 and EP738446. These patent the idea of selling objects over a network using a server, client, and payment processor, or using a client and a server. In other words, these are patents on selling products over the Internet; clearly a lot of software would infringe on these overzealous patents.”

I haven’t examined those patents, but if they are overzealous, that should be addressed by the patent granting process, not by throwing out all software patents. By definition, a patent should only be granted for a very broad thing if that thing is new and non-obvious. Selling things over the Internet seems pretty obvious, and unless they applied a long time ago, it certainly isn’t new (at the time of the application). There are differing rules in different countries as to whether protection goes to the “first to invent” versus the “first to file.”

18. The authors write: “The time and money spent on patent filing, prosecution, maintenance, litigation, and licensing (which SMEs cannot afford, and which have caused many to fold or be bought out) could be better spent on product development and research leading to more innovation.”

Well, you could say the same thing about advertising or any duplicate infrastructure. By its very nature, competition is inefficient in the short term for increased efficiency (allocation of resources) in the long term. Lots of resources get wasted while multiple companies compete. The goal is to maintain the appropriate amount of incentives. To some, patents hinder incentives. To others, patents provide incentive.

19. The authors write: “Surely, software companies would prefer to live with the pressure of having to improve and innovate constantly instead of having to deal with software patents?”

Um, why would any company with unique intellectual property prefer to constantly give that innovation away to competitors for free?

20. The authors write: “This is how it works under copyright, which already prevents competitors from merely copying software. This is also how it has worked up ’til now, and we have managed to develop the Internet, operating systems, and other software without patents.”

Well, copyrights and patents are two entirely different things. If I invent some cool software application, without the protection of a patent, you can copy its functionality verbatim as long as you don’t literally take my code. Patents offer protection of the idea and not just the implementation of that idea. Yes, many things have been invented without software patents in Europe, but many things have also been invented in the US despite (or perhaps because of) software patents here.

21. The authors write: “For the free software community, which eschews patents both on pragmatic and ethical grounds, they represent an even more worrying threat.”

Some people consider it unethical to eat animals. Doesn’t mean I’m planning on becoming a vegetarian. So please don’t imply that anyone in favor of patents is unethical.

22. The authors write: “Free software can only guarantee its safety in an environment without patents, in which the only other threat is copyright infringement, which is easy to avoid–just don’t copy proprietary code.”

It isn’t the obligation of inventors to guarantee the future safety of free software development. The problem is that the original premise of a patent was that “If Bob didn’t invent this today, no one might ever invent it, so we better give Bob a patent to stimulate innovation.” Frankly, in software development, an idea might come a year or two later without patent protection, but there are so many people working on software, that almost any insight is likely to evolve from the community. Patent law tries to account for this by not allowing patents for something that is “obvious to someone skilled in the art”. But obviousness is a constantly moving target. Many things are obvious today simply because someone already invented them or something similar. I think there needs to be a higher barrier for “non-obviousness” although in my experience (applying for a patent in the US), the barrier is pretty high. The patent examiner bascially was arguing that if you take five existing patents in concert, they “anticipate” (a legal term) my invention. My reply was “Well, no one else was doing it, so it couldn’t be that obvious.”

Lastly, what do you do when software can generate something in the physical world, such as software to build a 3D model/prototype? I don’t think you can make an artificial distinction between physical inventions and “pure software.” I’m not saying these are easy issues. For example, some people are patenting medical techniques, such as a particular way to perform surgery. Maybe the solution is to have a patents rights clearing house so that a known fee could be paid to license a particular technology, similar to the way someone can license a song for a move soundtrack.

But I think software patents have a place. It is a matter of getting the implementation right.

What do you think?

David Battino

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Related link: http://www.esession.com

Music is all about communication, but ironically, it seems the more powerful
our computer tools become, the more likely we are to work alone. In The
Art of Digital Music
,
Alan Parsons contends that part of the problem is
that the mouse is made for only one human hand. He then describes watching
in amazement as Ken Jordan and Scott Kirkland, a.k.a. the Crystal Method, recorded
their tracks for Parsons’s new album at
the same computer, tag-team style.

For several years now, programmers have been trying to bring that level of
collaboration to musicians situated at different computers. One of the most
promising approaches was Res Rocket (later Rocket Network), which allowed far-flung
musicians to build up songs by trading overdubs over the Internet. It was like
instant messaging for music production, with a chat window and even virtual
rooms where participants could search for collaborators. As your Rocket sequencer
chugged along in Idaho—the program had the playful name Distributed Realtime
Groove Network (DRAGON)—a musician in Brazil could be recording a complementary
part on his computer. A few clicks of the mouse later, and it was playing back
on your machine. The beauty of the system was that it didn’t attempt
to synchronize all the DRAGONs around the world. Each played back at its own
tempo or timing offset. The realtime interaction happened in the chat window.

At first, Rocket supported only MIDI tracks; later it allowed musicians to
trade audio tracks as well. Eventually, major sequencer companies including
Steinberg and Emagic released “Rocket-powered” versions of their
programs, and massive Digidesign implemented a subscription-based virtual recording
studio. Then came the dot-com crash, and Rocket was grounded. Parts of the concept
resurfaced recently in Digidesign’s DigiDelivery,
a multithousand-dollar hardware/software system for transferring large audio
files easily and securely. It’s essentially an ftp replacement for professional
recording studios—more of a utility than a creative tool.

Still, some people never forgot the joyful collaborative vibe of early Rocket
offerings. Yesterday, Gina Fant-Saez, whom we profiled on
the O’Reilly Digital Audio site, launched a service called eSession that
truly seems to be geared for music. The site promises to help you find
top-drawer studio musicians and recording engineers to work on your projects, and
then handle all of the financial transactions and file transfers. There’s also 24/7 telephone
tech support.

Currently, eSession is building a database of talent. To sign
up
as a session musician or engineer, participants need 15 major-label
credits, a personal digital studio, and high-speed Internet access. You’ll
be able to hire these ringers either by the track or by the hour, at negotiated
rates.

It will be interesting to see how eSession evolves. Instead of reaching for
a loop CD, songwriters may soon be dialing in drum doctors, riff repairmen,
and guitar gurus for musical housecalls. In the meantime, be sure to check
out the O’Reilly
Digital Media Professionals Directory
, where you can search for music and
audio professionals (as well as photographers and graphic designers), or advertise
your own services for free.

How would you like to collaborate remotely?

Rick Jelliffe

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Related link: www.eclipse.org

Last week my Most Vexing Website (MVW) was almost
every bloody tourist
site in Belgium
: no Flash presentation was too large and gorgeous, no download time too slow. This week, MVW award goes to the Eclipse website.

My task was simple: I wanted to find out how to contribute code to the Launcher project.
This is the C++ program that invokes Java,
and I want to contribute start-time JVM memory
calculation.

  • Finding out which group the launcher belonged to was tedious: as far as I can tell, it is part of SWT.
    I only found out where it belonged by looking at the
    URLs of the CVS tree.
    Then there are no links that I could discover to any actual humans.
  • I decided a good strategy would be to look in the mail list archives for SWT. That requires you to join the platform-swt-dev list, and acknowledge an email.
    Fair enough, but still access to the archives was blocked.
    A bug or something.
  • The methods of looking for someone to ask, then looking
    for someone to ask who I should ask both having failed, my next strategy was to look for a Request For Enhancement
    mechanism in the Bug-tracking database: phew, finally I found something where I was hoping it might be…err, but then
    the list of products didn’t include SWT. OK, it must be
    under “Core” I thought.
  • So I click on “Core” and wait. Nothing. So I click again.
    Now it wants a user name and password. The platform-swt-dev one doesnt work.
    So I have to register again.
  • So now I have looked through over 50 pages,
    and registered twice,
    all in order to figure out who to talk to about
    submitting an enhancement. But it certainly
    makes me admire Eclipse for shielding their
    people from outside distractions or feedback,
    rather like the ghost prisoners at Gitmo etc.:
    I hadn’t quite realized opacity was such an important
    part of Open Source.
  • Anyway, I register and jump to the bug page.
    Do I see any way to request enhancements
    (or even report bugs)? No: it is a search screen
    for existing bugs. Having used Bugzilla before,
    I know to use the New button, then
    select the product. But facing the bug page,
    and reading the guidelines for reporting bugs,
    there is nothing to suggest that this a plausible
    place for requests for enhancements, except
    by default.
  • So I give up in futility. Actually, I will
    mail something to the mail list first. I have
    always relied on the comfort of strangers.
    The regularity of the Eclipse site makes me
    expect that this is not in any way particular
    to the SWT team or group (or however it is
    organized, I still have absolutely no idea.)

The argument sometimes given against allowing
user-based enhancement/fixes is that there needs to
be adequate testing performed. But that is a matter
of infrastructure: when someone contributes an enhancement
the will have to submit tests to prove the enhancement.
In the age of test-driven development, this should
not be really so much extra work for the contributor.
The adequacy and results of the tests should increase
the efficiency of the integrator too: they have
less to do, therefore they can do more.

Maybe this is a cultural thing too:
Open Source largely sells itself on the
expectation that the user community will
be finding bugs and figuring out workarounds,
fixes and enhancements. The debate on the
security virtues of Open Source trumpet this
loudly.
Having access to the
source code not only allows programmers to make sense
of the documentation, but also pinpoint the issues
for maintainers.
So the cultural issue is this: to what extent do
Open Source teams see their jobs as primary coders
and to what extent do they see themselves as
gateways/facilitators/redactors of external contributions?

A development effort that saw itself in this
second light would be as much focused on
how to accept and process enhancements as
how to accept bug reports, and the website
would help this. Indeed, perhaps there
is scope for only accepting fixes and
enhancements and never accepting bug report without
them! We break it, you fix it!
Perhaps bug tracking is a distraction from
the more central task of harnessing the energy
of workers paid by someone else?

Has anyone managed to break though Eclipse’s anti-enhancement battlements?

Bruce A. Epstein

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Related link: http://planetbruce.com/cars#edr

The 2005 Toyota Sienna (I’m not sure about earlier models) has an Event Data Recorder (EDR) which is a black box of sorts (sans the audio recording). In the event of a crash, near crash, or airbag deployment, it records various data such as vehicle speed, engine speed, driver seat position, gear selector position, etc. It sounds like if you are in an accident, your car could be a witness against you. Their lack of an adequate privacy policy is really shocking, not to mention there isn’t any disclosure of this when you buy the car (okay, I admit, I didn’t read all the fine print). Read more about it on the PlanetBruce blog, here.

How do you feel about your car tracking data of this sort? Should an owner be able to prevent the disclosure of such data?