DJALCHEMI

Animating the future of population and cities

One of those happy synchronicities has alerted me to two different ways of presenting information information about population growth. And, to compound the coincidence, the same topic was raised in a discussion with David Puttnam that I attended in the same week as I discovered them.

First is this video, which was featured in the Long Now Foundation blog. The animation of population growth from year 00000 to 02020 (Common Era) runs from 0:45 through to 3:35. The quickening pulse rate is a bit hammy, especially as the visuals alone tell a pretty compelling story (hint: wait until the last few seconds).

A more recent treatment of the same situation, but projecting from 02000 to 02100, and focusing particularly on our biggest cities comes from the site 19.20.21. The basic premise and story here is that there will be 19 cities in the world with 20 million (or more) people in the 21st century.

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Give me back my tags: portable attention data

Having recently moved and been caught up in a silly broadband snafu, I spent a couple of weeks without regular Internet access: the previous entry on this blog was composed in the local pub, which offers free wi-fi along with a pint of Youngs bitter. This interrupted form of net access is fine for keeping up with important emails or news on the web. What I missed, though, was the Last.fm tag radio streams that I've built up over the last six months (in fact I missed them more than my CD and LP collection that I still haven't been able to unpack for other reasons).

Throughout this disturbance I had continuous access to my iTunes library (3,000 tracks — large by some standards, modest by others). Many of the artists and tracks in the library are ones I've tagged on Last.fm, but I don't have access to those tags from within iTunes or without Internet access.

What I really wanted to do was apply my Last.fm tags to the relevant entries in my iTunes library. And my MyStrands tags, while I'm about it. In fact I started tagging with MyStrands first. My tags are still there, but I rarely (if ever) add to them these days, as I realised I was very constrained in getting value out of them. But I tag a lot on Last.fm: I find it a great way of gradually expanding the penumbra of music that I know a bit about, but don't know very well. Firstly, it can be like listening to the radio and using tags to mark the songs you want to come back to, or include in a playlist. Secondly, if I read a review or a story about a band that sounds interesting, I tag them for checking out later.

Wikipedia to bifurcate?

Just last week I was writing (for my book), "No one is going to set up a new free wiki-based online encyclopaedia any time soon: there can be only one." Now I'm considering whether I can edit that to say "No one is going to initiate from scratch a…" or should I just delete it altogether. This in the light of the news that Wikipedia co-founder Larry Sanger is setting up the Citizendium project, which he describes as a "progressive or gradual fork" based on Wikipedia. The difference between this fork and the mothership? Experts have the final say over edits.

There has been some scepticism about Citizendium, but I think it's an interesting and healthy challenge to any dogma of hardline bottom-up evangelists. In the end, the opinions we experience are a mix of expert and amateur, qualified and ad-hoc. Why not try and build that mix into the ecosystem of an encyclopaedia system?

Information foraging theory

Foraging rabbit,
copyright and cc-licensed by
caro wanders by mistake.

I came across information foraging theory via Jakob Neilsen, who described it as "the most important concept to emerge from Human-Computer Interaction research since 1993". Wikipedia has a reasonable overview, noting that "information seekers… use the same strategies as food foragers — informavores constantly make decisions on what kind of information to look for, whether to stay at the current site, trying to find additional information or move to another site, which link to follow, and when to finally stop the search." And there's a general introduction in a New Scientist article.

I'm interested in the theory for its possible applications to how people discover new music, in connection with the book I'm writing. Although Nielsen has referenced it a few times. There aren't that many other published applications of the theory on the personal page of Pete Pirolli, who is its principal proponent. There are a large number of academic papers on the theory among Pirolli's publications, of which I've read just the 01999 Psychological Review paper and the 02005 HCI International one. What follows is my assessment of what I like about the theory and what I don't like.

A clutch of future-gazing events to plug

First is the b.TWEEN 06 forum of future entertainment, coming at the end of this week (25 and 26 May) in Bradford. The programme covers pioneering cross-platform work that straddles art and commerce. Sadly I can't make it this year, but I enjoed the 02002 event, and aim to be there next year.

I will however be at the one-day Content 2.0 event at the RSA, London, on 6 June. The programme looks interesting, as long as it doesn't descend too much into voodoo-speak and hand-waving about brands. If you'd like to attend, let me know, as I may be able to do a deal (for one person only) on ticket price.

Finally, I may be at the MusicStrands summer school on The Present and Future of Recommender Systems in Bilbao, 12-13 September, which includes participants from MusicStrands, Yahoo! and several universities. Thanks to Paul Lamere for flagging this.

Update on playlist services

In preparing the White Bicycles playlist yesterday, I revisited a subset of the playlist services that I reviewed last year and in January.

Here are some notes on what's changed, plus some notes on different contexts for searching for tracks.

Visualisation of music collections

The picture on the left is an annotated version of a possible visualisation of someone's music collection, as proposed and described in a research paper available from Musicstrands. The segments in the circle represent different genres of music within the collection; the distance of each track (represented by dots) from the centre shows how old or recent it is; adjacent tracks all come from the same album; and the colour highlights show whether a track is part of a current playlist. I've shrunk the image down to about half size, partly to minimise accusations of infringing the authors' copyright, but also to give some indication of what this visualisation would look like on the screen of a mobile phone, iPod or other handheld device — not much use, I think you'll agree (download the paper, 580 KB pdf, for full-size image and explanation). I take that as reinforcement for my instinct that iPods, phones and such like will not be the main music device for serious music fans (people with more than a thousand tracks), but will continue to be just portable playback devices.

However, I'm not writing here principally about music devices, but about music visualisation in general, and assuming no particular constraints on screen size. I'm interested in visualisation for people organising and managing their own collections, sharing them with others and exploring others' collections, plus generalised visualisations of what might be called the 'music universe' (i.e. all the tracks and artists in the world), and how music maps onto other non-musical domains.

Musicube sharing of BBC listening profiles

Through Radio 1, the BBC has introduced a Flash interface to its on-demand 'listen again' feature, which enables listeners both to personalise the user interface they use to access radio programmes, and to share this interface with their friends. My personal 'musicube' is shown below. The elements I got to specify are the genres included in the 'cube', and the amount of space they take up.

One blogger has reviewed the musicube as "a cool (if fairly useless) concept". The cool bits are the ease of personalisation, the sharing capability and the eye-candy look. As far as the utility goes, if you're an efficiency-conscious hacker, there are quicker, less pretty ways of building your own console for the BBC's radio programmes.

Is the dust settling on podcasting?

Is it just me or are all the bubbles in the podcasting lather turning into a thin layer of slightly manky detergent on the surface of internet pond life? There was a spell last year, after iTunes first included podcast subscriptions, where the response to everything seemed to be "The solution is to start podcasting — now, what did you say the problem was?" This year there seems to be some sanity creeping into assessments of what podcasts might actually be good for.

Apparently the Ricky Gervais Show on Guardian Unlimited is going into the Guinness Book of Records as the most downloaded podcast. I subscribed to the podcast a few weeks ago, so I've helped contribute to the record, but I didn't get round to listening to one of the episodes until a couple of days ago. It was crap; like the Wayne's World cable broadcasts, but without the irony. As with most podcasts, I didn't get to the end.

Publishing your perspective and expertise with Squidoo

Here's another Web-2.0-style tool for aggregating information and links. It's the idea of Seth Godin, who has made his name from a series of books on innovative approaches to marketing in the age of the web. He sees this service, called Squidoo as a means for others to make their names in their areas of expertise — as captured in Squidoo's tagline, "a co-op of everyday experts".

I've created my own Squidoo 'lens', reviewed some other people's, and read Seth's free ebook about the concept behind squidoo. What follows are my reflections on these.

Peer-to-peer recommendations coming to mobile

Proving that convergence is rapidly becoming a fait accompli, news of personalised radio on mobiles is supplemented by peer-to-peer recommendations on mobile devices, currently in prototype development through the Push!Music project in Gothenburg. The site encourages you to

Imagine that you have a mobile device that can store and play back music files, for example a mobile phone with an MP3 player. As you encounter various people, the devices you are carrying connect to each other wirelessly and media agents from the other nearby devices check the status of your media collection. Based on what you have been listening to in the past and which files you already own, new music might spontaneously and autonomously 'jump' from another device to yours (and vice versa). Later, when you listen to your songs, your Push!Music player also plays some newly obtained tunes that you had not heard before.

Personalised radio moves to mobile

An unavoidable usability limitation of mobile phones is that you can't create a small, multi-purpose user interface that is well-suited to all the tasks asked of it: text entry, information browsing, taking photographs, playing games and even making calls. That's why a phone will never have the ease of use for music applications that the single-purpose iPod — every aspect of iPod design is intended to help it do one job as quickly, easily and pleasurably as possible. But if you could find a music application that required just very simple user input, that would get round the limitations of a mobile phone's interface — which is what this announcement from Vodafone and Sony does.

Think of the user interaction with Last.fm radio or Pandora (reviewed previously on this site here are here, respectively). Mostly it's restricted to clicking 'I love this track', 'Skip it' or 'Never play this again', which is pretty simple. So the new Vodafone Radio DJ will replicate this on your 3G mobile:

Playlist portability: comparative review

One thing leads to another and, when we saw Barb Jungr play just before Christmas, I got a copy of her Every Grain of Sand album of Bob Dylan covers, which triggered another bout of my recurrent mania for these cover versions. I went through all my old covers albums again, ripped my favourite versions onto iTunes, scrabbled round on the web once again and even ordered a further album (The Bob Dylan Songbook).

I ended up with 81 songs in an iTunes playlist, which fills my iPod Shuffle to just over 80% full. The rest of this posting is the story of what happened when I tried to upload and publish this playlist using three different playlist sharing services.

MusicStrands: playlist sharing and music discovery

Last week MusicStrands launched a major upgrade that extends its scope by adding new ways to tag, discuss, and discover music — see the overview of the new features. This is moving in the direction of the MySpace music community — technically I think it's a step ahead of MySpace, but clearly lacks the latter's current buzz — so in some ways it's unfair to concentrate just on its playlist sharing features. But that is what I'm going to do here, as I didn't include MusicStrands in my previous reviews of playlist services.

To try out the new MusicStrands, I first created a new Philip Jeays 'imaginary celebrity playlist' (see more about this genre and more about Jeays), then I repeated my Neil Young playlist, to provide a direct comparison with creating the same playlist on other services. More about the details of these below, but first an overview of MusicStrands playlists, using my standard criteria.

Use case examples of Web 2.0

"This article may be confusing for some readers, and should be edited to enhance clarity." That's the editorial foreword at the top of Wikipedia's entry for Web 2.0, an entry which says straight off, "a consensus upon [the term's] exact meaning has not yet been reached" (all quotes as of the time of writing, but subject to change). I discovered, after I started writing this post, that searches for Web 2.0 were briefly in the top ten searches on Technorati's blog index, so bloggers at least are keen to know more. I found all of that strangely reassuring, because it meant that it's not just my lack of brainpower that's to blame for me not being able to get a firm handle on the concept.

But a presentation at this week's User-Generated Content seminar from Colin Donald of Futurescape gave me some more insight through reasonably concrete examples — the kind of use cases that I was missing when I wrote about Digital Lifestyle Aggregation (a very Web 2.0 technology).

More usability nightmares with DRM

Leaving aside the moral, legal or economic arguments about Digital Rights Management (DRM), how does it affect usability and the user experience?

Last week a new form of DRM used by Sony BMG CDs came to light — though it has apparently been in use since March [source] — which installs a 'rootkit' on Windows-based computers. A rootkit hides software both from the user and from security or virus-protection software (hence its existence going undetected by users for months). The software, which controls what you can and can't do with the music files on the CD, is correspondingly difficult to remove. Here's an article that gives an overview of the case, and here's the original discovery.

Browse interface for BBC Creative Archive clips

Last week the BBC made available the first video content under the terms of the Creative Archive initiative. The footage includes material covering natural history, wildlife, science, locations. I heard there was a hundred hours of footage, though it's hard to check this; the clips appear to vary in length from under 30 seconds to 10 or 15 minutes.

The positioning of this material as video resources for VJs makes sense for at least two reasons. First it emphasises the re-mix, re-purposing scope and ambitions of the Creative Archive. Second, more prosaically and practically, it gets round the problem that little or none of the footage is the kind anyone would just sit down and watch (the Tomorrow's World clip is almost comical in the way the audio drops out — sometimes mid-sentence — presumably when some uncleared music is mixed in with the voice-track).

I may be proved wrong here, but I suspect the BBC will be hoping to discourage anyone drawing direct comparisons between use of this video material and the recent runaway figures for downloads of Beethoven symphonies. The Creative Archive is a very different proposition from music downloads, and the 'public value' test in a year's time will no doubt reflect that — including the different uses to which the material is put. Obviously this trial is just a start, and there has been correspondingly little fanfare about it: the blog coverage is fairly neutral so far, mostly just noting the existence of the new material.

The element of the trial that gives me pause is not the material, the formats or the (UK only) licence, but the user interface for browsing and finding clips.

Aggregation of data across social networks

A few days ago Marc Canter sketched the idea of a technology to interconnect social networks together, via a post on the Pho list, and it caught my eye. "Instead of a giant centralized social network with 1,000,000 members, we'd prefer to see 1,000,000 social nets with 10-25-150 members each", he wrote, referencing work done by his company Broadband Mechanics.

That got me thinking, and this posting is an attempt to capture some of the thoughts triggered by that vision — even if some of them are tangential to what Marc is trying to build.

Last word (for now) on playlist sharing

Having initially reviewed four playlist sharing services, three providers of further services have let me know of what they're doing in this area. I've already posted addenda on FIQL and Mixmatcher. Here are some comments on the GoFish playlist service, and a consolidated comparison table.

Mixmatcher playlist sharing service

After my original review of playlist sharing services, and FIQL addendum, I've been contacted again, this time from Ben of Mixmatcher. So here's a quick canter through a review, based on my experience of setting up the same-old, same-old playlist using Mixmatcher.

FIQL: a further playlist service

Following my review of playlist sharing services, Mike Wu of FIQL.com got in touch to point me to his site. Mike writes,

FIQL.com is also a playlist sharing site and we have close to 2,000 community contributed playlists divided up by genre, mood and occasion.

Our playlists are hooked up to itunes, msn music and we recently added support for Real Rhapsody. The latter is great because if you're a rhapsody subscriber, you can listen to entire playlists with one click and that's been incredibly popular.…

We also have writers who pen regular columns for us about playlists covering such diverse topics as "Songs With Backmasking" to "Prom Songs". Each (often heavily researched) column includes an accompanying playlist. These can be found off the homepage and in the "buzz" section.

Anyway, there are many similarities between our site and the sites you've played around with recently but we do think we also have some advantages. We hope you'll take a look and let us know how we compare.

Which I'm very happy to do.

Playlist sharing services: a comparative review

Since my series of postings about different playlist sharing experiments, Wired has picked up on the theme with a feature on the playlist phenomenon a few days ago. This focuses on the social and community potential of sharing playlists, though, in my opinion, it's important not to get carried away with the everyone-a-DJ concept: if DJs act as 'filters' and mediators for new music then, when more people become filters, you start to need filters for the filters…

Over the last few weeks I've tried five different online playlist services: you can see my pages on Webjay, Soundflavor, Upto11.net and Art of the Mix. I've used GarageBand.com as well, but not extensively, since playlists created there are restricted to tracks from other GarageBand.com members. [Update, 19 July 02005: I've now used three further services — see this posting for reviews and comparison.]

Based on that experience here are a few review comments on how each of the services measures up in terms of audio, community features, usability, portability of playlists, and their main selling points.

Evaluation of Learning Activity Management Systems

I've finally finished the rigorous evaluation report of Learning Activity Management Systems (LAMS). Seb Schmoller has an overview of the report and commentary on the small number of actual LAMS implementation cases.

One strand of the report jumped out at me. It observes that "it is less easy to adapt [a] lesson 'on the fly' in LAMS than in a traditional teacher-facilitated session," and that "some [students] were frustrated by the inflexibility of a LAMS sequence". Elsewhere the report refers to the linearity of LAMS sequences as restrictive and less than satisfactory.

What this suggests to me is that LAMS — in common, it must be said, with most e-learning approaches — reinforces the separation between the planning of a learning experience and its execution. This separation reduces the scope to be sensitive to the interactions with (and between), and to adjust and improvise accordingly.

Usability of People's Network Enquire service

I covered the announcement of the People's Network Online Enquiry Service last year, and, as of last week, the 'Enquire' service is operational. Here is the press release about the launch from the Museums Libraries and Archives Council, wherein the Chief Executive says "Enquire is designed to get answers to people wherever they are, night and day.  It is a route to the librarian's expertise without ever crossing the library threshold."

Update on Learning Activity Management Systems

Seb Schmoller's fortnightly mailing provides the latest news on Learning Activity Management Systems (LAMS), which I touched on last year. The LAMS concept, developed in Australia, now has a web site, from where you view a four-minute Flash demonstration of LAMS in action and download the open source LAMS software. Seb has more details on the background and the UK trial of LAMS. [Update 27 May 02005: the LAMS evaluation report has now been published.]

The LAMS concept depends for its 'pay-off' on teachers developing sequences of learning activities, and then sharing them and/or re-using them themselves. This is effectively a programming task, even if the programming environment is heavily visual, to make it easy to use. And research shows that this kind of 'end-user computing' is bound up with many social, organisational and task-specific influences — because end-users are not drilled in the systems analysis and design disciplines that allow software engineers to abstract from real-world requirements to modules of code. People like Bonnie Nardi have done extensive and insightful research on the social ecology of users participating in the design and re-use of everything from spreadsheets to intelligent agents. It would be interesting to see that kind of research applied to the use of LAMS by teachers.

Researching how communities share music via iTunes

This research paper on patterns of sharing iTunes music in an office, presented at the CHI (originally Computer-Human Interaction) conference yesterday, is the other side of the coin from the personal-stereo research I reviewed in my last posting.

Where that research was about using music to reclaim public space as private space, this paper is about how people project and present their identities in social settings, through their music collection. Where I was disappointed that the personal-stereo research had little to say about the music itself, this research is very much concerned with the choices people make between different musical selections, and how they relate to their personal collections. As the press release puts it,

Employees in a mid-sized U.S. company reported that they consciously worked to portray themselves in certain ways through the collections of music they shared with co-workers, some of whom they barely knew. Sometimes their self-portrayals were misread by co-workers with different musical interests and knowledge. Nevertheless, music sharing served to build a community within the workplace.

What does On-Demand Media really mean?

This week Arbitron and Edison Media Research published a report of their research survey on Internet and multimedia usage, The On-demand Media Consumer. The headline result being quoted is that "One in ten Americans show a heavy preference to control their media and entertainment". Reading the summary report, however, suggests that this conclusion is not warranted by the data.

This article covers the flaws in interpretation in the report, and then suggests some distinctions that might form the basis for a more sophisticated approach.

The biggest problem is that the researchers constructed a scale which they say "represents the level of control that consumers exercise on their own media usage", and most of the report is based on correlations with this scale. If you look at the fourteen items that were used to make up this scale, it's clear that these are just measures of adoption of the latest gadgets and technologies (e.g. owning a BlackBerry®, or a portable DVD player, having watched or listened streamed video or radio online in the past month, spending seven hours or more on the Internet per week). Not for these researchers the methodological rigours of testing the reliability of their scale using Cronbach's alpha or other established disciplines.

Online Social Networks Conference (feeling overloaded)

I'm currently taking part in Online Social Networks 2005, and online conference that runs until 23 February — as the web site says, "It's not to late to register". It's organised by leading evangelists for online networking, Howard Rheingold, Lisa Kimball, and Joi Ito. Most of the proceedings are available only to people who have registered, but Joi Ito has posted an openly accessible mp3 of the opening keynote session via his blog.

It's been a long time since I participated in one of these events — the last one being Collaborate 98, produced by some of the same team, which now has its proceedings openly available for browsing online. I think the price has dropped significantly in the last seven years (Online Social Networks 2005 is $35 to register, which is just under £20).

The conference is just starting up before more focused business gets under way next week. But already I'm finding it hard to keep up with the many voices. Online networks used to be smaller and less Babel-like than this.

The politics of location-based technologies

Attending the PLAN network last week, the biggest surprise for me — given that PLAN is an arts organisation — was how many of the speakers focused on macro issues of policy, regulation and infrastructure.

This emphasis led me to search out Jonathan Grudin's prescient paper from fifteen years ago, The Computer Reaches Out: the Historical Continuity of Interface Design (download as 1.1 MB PDF file). In it, Grudin charted how the focus of the 'interface' in computing extended — over the period from the 1950s to the early 90s — from the hardware, to software, through the screen, to groups and organisations. He argued that, with this shift, the duration of the events studied to design the interface increased from microseconds to days, and the methods used to study them changed from ad hoc techniques, through lab experiment, to ethnographic observation. (For a concise overview of these trends, see Figure 1 and Table 1 in Grudin's paper.) With the era of ubiquitous computing ('ubicomp'), one could argue that the computer has reached out once more: the interface is at the level of society and the public domain; the events studied develop over months and years; the methodology is historical and political analysis. Here are some examples from the PLAN event.

User interface for on-demand radio

A couple of days ago the BBC launched Version 2 of its successful BBC Radio Player. Rather than attempt a review — except to say it seems to be an all-round improvement, notwithstanding the frames that make it more awkward to link to individual programmes — here is The Guardian's assessment [free registration required] and an account from Dan Hill, who played a leading role in its development.

Stations (or channels) have less relevance in on-demand listening, except insofar as they map onto clear genres of programming. When it comes to music, I find great programmes on all five of the BBC's music stations, and often on Radio 4 as well (many excellent music documentaries in the Tuesday 13.30 slot). Radio Player v2 allows users to browse by genre (the same genres the BBC Music site has been using for a while, plus documentaries), which is a major aid to cross-station listening for those (all?) of us who cannot regularly scour all the listings for all the stations.

Single- and multi-purpose devices (iPod & Mac Mini)

The iPod was originally designed as a single-purpose device, and all the signs suggest that Apple wants to keep it that way for now. However, it's popularity has inspired an industry of accessories — as BusinessWeek puts it, "a rising iPod lifts all boats" — and a sub-culture of adaptations or hacks. Some concentrate on the hardware, for example, turning the iPod into a flashlight or laser pointer. Then there's the pPod gimmick and the more serious podSites, which aren't really 'sites', but exploit the potential for hypertext links between the iPod's text notes.

As information utilities in the own right, things like podSites are hardly enticing. Rather less so than WAP sites, which is saying something. But they have led to commentary that Apple should publish the application programming interfaces its teams use to write programs [registration required], to promote the development of the iPod as a platform (see also this alternative argument).

There's a straightforward usability trade-off here.