Google Kills Its Other Plus, and How to Bring It Back

News! This week, I started writing Codeword, a new weekly column for Wired.com. I’m covering a mix of data journalism, Internet culture, indie gaming, or whatever else I find interesting — the same kind of thing I’ve written here for almost a decade.

As part of the arrangement, I retain joint copyright and can republish my columns here after 24 hours, which I’m very happy about.

My first column went up on Wired yesterday, a thinly-disguised rant on Google’s removal of the + operator from search, which I noticed last Wednesday.

Obviously, this change isn’t the end of the world, but it got me thinking about how the importance of alpha users changes as services grow in popularity. I hope you enjoy it.

Google+ is the fastest-growing social network in history, with 40 million users since its June launch. To help them focus, Google’s quietly shuttered a number of products, removing iGoogle and Google Reader’s social features and closing Google Labs, Buzz, Jaiku and Code Search in the last two weeks alone.

But in doing so, they also killed off one of its oldest and most useful tools, from its most popular product.

On Wednesday, Google retired a longer-standing “plus”: the + operator, a standard bit of syntax used to force words and phrases to appear in search results. The operator was part of Google since its launch in 1997 and built into every search engine since.

Unlike their other recent closures, the removal of + was made without any public announcement. It could only be found by doing a search, which advised the user to double-quote the string from now on, making “searches” look like “awkward” “Zagat” “reviews.”

Google wouldn’t disclose exactly why they phased it out, though it seems obvious that they’re paving the way for Google+ profile searches. When Google+ launched, instead of adopting Twitter’s @reply syntax, they coined their own format for mentioning people — adding a plus to the beginning of a name — triggering the future conflict with the + operator.

The fate of the “+” symbol was clear: protect a 12-year-old convention loved by power users, or bring Google+ profile searching to the mainstream? It was doomed from the start.

Geeks from Reddit and Hacker News were quick to condemn the move.

To understand why they’re upset about a single character, let’s step back to Google’s launch in 1997.

Why It Matters

For the first 12 years of its life, from its launch until early 2009, Google worked like this: every term you searched for appeared on every web page in its results. Nerds call this an “and” search — a search for “cherry pie” becomes “cherry AND pie.”

By comparison, the popular convention at the time was to return pages with any of the search terms present — an “or” search. The results were noisy and unhelpful.

Google’s own help page, archived in February 1999, explained it:

Google only supports “and” queries. That is, it only returns pages that include all the query terms. The + operator, which enforces “and” behavior on some search engines, is unnecessary on Google.

At the time, this new feature was a godsend for savvy users. Because every term appeared in results, you could continue to refine your queries by simply adding new words to the search bar until you found what you were looking for.

As Google grew in popularity, this didn’t scale. Non-technical users don’t know what search terms to use or how to use search modifiers, and they shouldn’t have to.

Instead, Google needed to read minds to find what their mainstream audience was looking for, even if it meant ignoring what they actually wrote.

They started with the introduction of spelling suggestions, with “do you mean?” prompts introduced in 2003. By 2009, these were so successful that Google replaced the user’s search with the corrected words by default, though they always explicitly explained the change.

In January 2009, however, Google began experimenting with silently ignoring search terms completely.

For anyone deep-diving Google for the dark corners of the Internet, this change was hard to swallow. For the first time, searches were unreliable — an “or” search instead of an “and” search.

Journalists and software engineers, two classes of people who commonly search for obscure terms, objected to the change most.

“It’s incredibly annoying,” wrote Peter Rojas, gdgt founder and co-founder of Engadget and Gizmodo. “I hate how they don’t want you to do searches for exactly the words you’ve entered and nothing else.”

“I also use + constantly. It’s such a long-standing convention,” wrote Mat Honan, senior reporter for Gizmodo and former contributing editor to Wired.

Even Matt Cutts, head of webspam at Google, personally agreed. “My fingers are crossed for coming up with a better approach to this,” he said on Twitter. “As a power user, I want my escape hatch/safety valve for ‘Yup, I want exactly that weird word’ too.”

So, should we just “search” “like” “this” forever? Naturally, enterprising hackers are already routing around the perceived damage.

The Alternatives

As Google marginalizes its core base, it’s opened the door for smaller, more nimble startups, such as DuckDuckGo, a one-man project that’s quickly becoming the go-to search engine for discriminating nerds.

With a corpus of powerful search modifiers and a hard-line stance against tracking and personalization, it was created and maintained for the last four years by a single engineer, Gabriel Weinberg. This month, Weinberg announced DuckDuckGo accepted funding from Union Square Ventures and hired his first full-time employee.

For those unwilling to leave Google’s deep index, there are other solutions. One pseudonymous hacker made FindErr, a simple proxy that adds quotes to every search before shuttling the user off to Google.

My personal favorite is this simple userscript created by electrotype for Hacker News, which instantly adds quote marks to every submitted search. It works in Chrome natively and Firefox with the Greasemonkey plugin.

Too Hardcore

As a service grows in popularity, alpha users outlive their usefulness. The core users that helped build a service by word-of-mouth often find themselves dwarfed in numbers by people with very different needs.

Take the recently-announced changes to Google Reader, for instance. Reader is the most widely-used and deeply-loved feed reader ever made, steamrolling over several startups in the mid-2000s in the process. Any startup would be thrilled to have their devoted audience; within Google, Reader seems like a distraction.

Last week, the Reader team announced the removal of all of its social features, used by a relatively small but rabid fanbase.

Courtney Stanton, a Boston-based product manager, called Google Reader “the best social network created so far” in a passionate rant on her blog. “For me, this is the destruction of the only online space I truly give a shit about.”

There’s no easy solution. Should a company be expected to maintain features indefinitely because a tiny fraction of their base loves them? There are tangible costs to maintaining old code, and fringe features can clutter an interface, making user experience worse for those that don’t use them.

For those people, removing features is more than an inconvenience. It shatters an entire community. But, ultimately, their usage is a rounding error in the overall product activity.

With Google Search and the + operator, the consequences are far less dire. I asked Google what inspired the + removal, and how they balance the needs of power users with those of their mainstream base. “We’re sensitive to the needs of both newer users and ‘power users’ alike, and we’re always looking for ways to improve search for both groups,” a Google spokesperson said. “We make changes to search after rigorous testing shows that they improve the user experience.”

At Google’s scale, user testing can hide the behaviors and passions of entire subcommunities. The long-term implications of small changes like these are very hard to predict, especially with early adopters.

Who knows? If Google’s search engine dominance started with an “and,” it might just end with a “+”.

Apple's 1987 Knowledge Navigator, Only One Month Late

In 1987, Apple released this concept video for Knowledge Navigator, a voice-based assistant combined with a touchscreen tablet computer.

Based on the dates mentioned in the Knowledge Navigator video, it takes place on September 16, 2011. The date on the professor’s calendar is September 16, and he’s looking for a 2006 paper written “about five years ago,” setting the year as 2011.

And this morning, at the iPhone keynote, Apple announced Siri, a natural language-based voice assistant, would be built into iOS 5 and a core part of the new iPhone 4S.

So, 24 years ago, Apple predicted a complex natural-language voice assistant built into a touchscreen Apple device, and was less than a month off.

(Thanks to Hugh Dubberly for the video, who helped create it for ex-CEO John Sculley’s EDUCOM 1987 keynote in six weeks on a $60,000 budget.)

Geek's Guide to Portland

I have a bunch of friends coming into town for ROFLCon Summit on Saturday, and rather than email them my suggestions of stuff to do in Portland, I thought I’d make it public.

This is my guide to PDX for people like me: people who geek out about good food, beer, comics, and computers. It’s for people who want to experience the best of Portland in a short period of time, with a heavy focus on new stuff: many of the places listed here have opened in the last year.

One thing you’ll notice is that most of the best stuff isn’t in the downtown area. To really experience Portland, you’ll need to cross the bridge to the east side. But don’t worry, PDX is tiny and nothing will take you more than a few minutes by bus, bike, or taxi.

If you want any other suggestions, or have suggestions of your own, let me know!


View Waxy.org’s Essential Guide to Portland 2011 in a larger map

Restaurants

Tasty n Sons / Tasty n Alder (NE/SW)

If you have to choose one place to eat breakfast in Portland, go here. Imagine tapas-style small plates, but focused only on breakfast staples. A new downtown location brings a slightly different menu throughout the day and evening, both are great but get busy. Brunch daily from 9am.

Meat Cheese Bread and Bunk Sandwiches (SE/SW)

These two restaurants are focused on making the best sandwiches in Portland. If it’s late, try Bunk Bar in inner SE, which brings Bunk’s sandwiches to a bar-like setting.

Salt & Straw (NE/NW)

Tyler Malek’s creative flavors and farm-to-cone ingredients make this the best ice cream around. Try the pear w/blue cheese, honey-strawberry-balsamic with black pepper, or special flavors made with local microbrewed beers. Now with a second location on NW 23rd.

Pine State Biscuits (NE)

Heart-stopping, delicious biscuit sandwiches. I don’t think there’s a bad thing on the menu, but the Reggie and Moneyball are particularly great. If you skip breakfast, their Alberta location stays open until 1am on Fridays and Saturdays. (Their SE Belmont location closed in early 2013, soon to reopen on Division.)

Screen Door (SE)

Portland meets the South, with farm-to-table comfort food. Surprisingly great for vegans, with a menu of local organic sides and salads that changes weekly. Best fried chicken I’ve ever had. Get there before brunch (9am) or dinner (5:30pm), or be prepared to wait.

Apizza Scholls (SE)

Slice ranked it as one of the top five pizzerias in America, and the #2 pizza on the West coast in their March Madness bracket. Just get there when they open, or be ready to saddle up with a couple beers and wait.

Pok Pok (SE)

2011 James Beard-winning chef Andy Ricker kicked off a culinary renaissance in Portland with his frontyard grill-turned-restaurant empire. Inspired by Thai street food, you won’t find chicken panang anywhere near Pok Pok’s eclectic, face-melting menu. While you wait, grab a drink at the Pok Pok-owned Whiskey Soda Lounge across the street. And try a drinking vinegar, you won’t regret it.

Grüner (SW)

Delicious Alpine cuisine, my favorite new restaurant in the downtown area. They also just opened Kask, their newly-opened casual bar adjacent to the restaurant.

Boke Bowl (SE)

My favorite ramen in Portland. Not traditional, but excellent, Boke Bowl started as a series of pop-up ramen events around town before establishing their own location. I highly recommend the steamed buns and the pork ramen w/fried chicken. Vegan and gluten-free ramen options are available and delicious.

Tanuki (SE)

The motto of this quirky Japanese/Korean-influenced izakaya is “No kids, no sushi,” but I’d also add “no groups larger than three, no vegetarians, no picky eaters, no prudes, no prima donnas.” Just get the omakase for $20/person, order some drinks, play some pinball, and enjoy. My favorite restaurant in Portland, and some of the best meals I’ve ever had. Just be willing to go with the flow, or you’ll get your ass banned for life.

Food Carts and Late-Night Dining

The food cart scene in Portland is ridiculously amazing, a food culture revolution with over 670 carts in 25 “pods” (groups of carts), some spanning full city blocks. They can be a little hit-or-miss, but there are some amazing gems to be found. New this year: carts serving beer.

Note: Voodoo Doughnuts is for tourists. Like Le Bistro Montage, Whiffies Fried Pies and Potato Champion, these late-night staples became famous with locals by being open when bars let out. They should only be consumed drunk. (And even then, you can do better.) Any other time, they’re just mediocre. Want great donuts? Try the new Blue Star Donuts, a 10-minute walk from Voodoo.

Pyro Pizza, Whiffies fried pie, and Potato Champion poutine, photo by Stacy Clinton

Nong’s Khao Man Gai (SW)

Bangkok-born Nong Poonsukwattana offers only one item on her menu — khao man gai, a uniquely Thai street dish made from poached chicken and rice and sauce. Arguably the best cart in Portland, located at the sprawling SW 9th and Alder cart pod, the largest in town spanning two blocks. Closed Sundays. (Too busy? Try the to-go shop in SE.)

Cartopia (SE, weekends until 3am)

This collection of carts on SE Hawthorne at 12th is more known for its late-night hours and raucous vibe than the quality of its food. But if you’re hungry after a late night of drinking, it’s definitely worth trying Pyro Pizza’s wood-fired oven-in-a-cart and the crepes from Perierra Creperie.

Mississippi Marketplace (SE)

Since the closure of SE Division’s D Street Noshery, this is probably the best-curated cart pod in the city. Highlights include Minizo (ramen), Miss Kate’s Southern Kitchen, The Big Egg (breakfast until 2pm), Koi Fusion (Korean-Mexican fusion), and Prickly Ash (Chinese flatbread sandwiches). On a nice day, grab your food and sit on Prost’s deck with some oversized Belgian beers.

Drinking

Portland’s a big beer town, home to more microbreweries than any city in the world, though the distillery and cocktail scene’s grown in recent years. Here are my picks for the absolute best.

Hair of the Dog Brewing, Photo by throgers

Hair of the Dog (SE)

This microbrewery is beer geek heaven, capturing five out of RateBeer’s top six Oregon beers. A perfect place to try some of Portland’s best beer, though their tasting room has quirky hours, open only from 2-8pm, Wednesday through Sunday.

APEX (SE)

50 great beers on tap and a massive patio. Grab some excellent Portland-style banh mi from Double Dragon across the street, and settle in. Cash only, but if you use their ATM and show the receipt, they’ll give you $1 off.

Bye & Bye/Sweet Hereafter (NE/SE)

The Bye & Bye on NE Alberta and the Sweet Hereafter, its newly-opened sister on SE Belmont, are distinctly Portland institutions — vegan bars with food that’s shockingly tasty even for die-hard omnivores like me (try the chili pie!). Great beer list, delicious and strong cocktails served in Mason jars, comfortable vibe, and plenty of seating make this a great meeting place.

Bailey’s Taproom (SW)

There isn’t much atmosphere here, but Bailey’s makes up for it with the most interesting taplist in Portland — 20 beers rotating daily, selected by mega-beer geeks.

Green Dragon (SE)

With 50 beers on tap and huge indoor/outdoor spaces, this place is great for meeting large groups of people. The food menu and taplist can be hit-or-miss, but there’s always a handful of great beers in the mix. If you’re feeling experimental, try Cascade Brewing across the street, one of the few breweries in the U.S. focused on sour ales.

Distillery Row (SE)

If you’re here on a weekend, take an hour to sample Portland’s craft distillery movement on foot, doing tastings from House Spirits and Eastside Distilling to New Deal and Vinn. If you can only choose one, New Deal’s the best deal, with eight excellent liquors for $5.

Townshend’s Tea House (NE)

There’s no shortage of phenomenal coffee in Portland. (Coava is my personal pick.) But I’m not a big coffee drinker so I tend to head to Townshend’s, the best tea in Portland. Their bubble tea is best in town, with a wide range of flavors and your pick of tapioca, aloe or fruit jellies.

Attractions

Ground Kontrol at night, photo by Incredible Ape

Ground Kontrol (NW)

World-class ’80s video arcade and pinball gallery that turns into a 21+ bar after 5pm. Absolutely essential geek visit.

Powell’s Technical Books (NW)

Everyone knows about Powell’s Books, but geeks may be more interested in Powell’s Technical, an essential resource for modern and vintage books on science, math, computers, and engineering. It recently relocated directly across the street from the flagship store.

Floating World Comics (NW)

Portland has some great comic shops, but for art/indie/experimental comic lovers, Floating World can’t be missed.

Counter Media (SW)

On the other side of Burnside from Powell’s, Counter Media is a wonderful bookstore carrying a carefully-curated collection of indie comics and graphic novels, with crazy fetish stuff in the back.

Billy Galaxy (SW)

Though often wildly overpriced, this is nostalgia heaven. Go buy that Burgertime lunchbox you’ve always wanted.

Want more?

Looking for late-night options? I did a big roundup of the city’s best, as of May 2013.

The recommendations from Eater’s Top Restaurants and Heatmaps are consistently solid.

Have a great time!

Gamer Recreations of the World Trade Center

People deal with tragedy in different ways using the tools they have at their disposal. Painters paint, writers write, and gamers mod.

Lately, I’ve been interested in seeing how game modders and mappers have recreated the World Trade Center, the events of September 11, and the WTC Memorial in various game engines. Some of these are profane and offensive, quite likely made by teens that have no first-hand memory of the disaster, but most are intended as tributes. Here’s the best of what I was able to find.

Continue reading “Gamer Recreations of the World Trade Center”

Heello is Twitter for Pretending

It’s easy to write off Heello as a Twitter clone. Created by the founder of Twitpic, the shameless knockoff looks and behaves like a stripped-down version of Twitter, down to the tweets pings, followers listeners, and retweets echos.

But it’s shaping up to be more than that. Creative fakesters are using the blank slate to turn Heello into the parallel-universe version of Twitter.

A world in which Heello was cofounded by Ev Williams (@ev), who acts as CEO and gives away free iPads to Heello users.

Where CNN Breaking News (@cnnbrk) reports all the news in ALL CAPS, including breaking news reports like “JUSTIN BIEBER” and “I JUST UNLOCKED THE ‘I’M ON A BOAT’ BADGE ON FOURSQUARE.”

A world where Mark Zuckerberg (@MarkZuckerberg) is a profane, sexist womanizer.

And where major web services (past and present) flirt and snark at each other, like @Tumblr, @Color, @4chan, and @Pownce.

Of course, Heello wouldn’t be complete without its own Social Media Experts. “Please Check Out My Blogpost ‘How To Drive Qualified Traffic To Your Blog Via Heello.'”

Heello is like a blank-slate Twitter with no moderation or verification. I doubt the Heello team wanted or expected this behavior, but they inadvertently created a perfect playground for parody and meta-commentary, like Uncyclopedia or Encyclopedia Dramatica‘s parallel world versions of Wikipedia.

It should be fun to see how they respond.

Update: Marshall Kirkpatrick, lead writer of ReadWriteWeb, comments, “They told me they were going to remove any of these that weren’t clearly satires. That’s a real shame and shows a lack of sense of humor.” The first casualty was @ev, which was deleted shortly after this post was published.

There's No Wrong Way to Play Monopoly

Marco Arment just linked to this great article about how everyone plays Monopoly wrong. If you read the actual rules, it’s a completely different game than the one you likely grew up with — one that moves much, much quicker.

Five things I never knew about Monopoly’s official rules:

1. If a player decides not to buy a property, it immediately goes up for auction by the bank and is sold to the highest bidder. This blew my mind.

2. Houses must be built, and sold, evenly across a color-group. For example, you can’t build three houses on Park Place without having two houses on Boardwalk first.

3. It’s the property owner’s responsibility to ask for rent. If you forget to ask for rent before the end of the next player’s turn, you’re out of luck.

4. Rent is doubled on properties without houses in a monopoly.

5. Income tax is calculated from your total net worth, including all properties and buildings, not just your cash. And you have to decide whether to pay 10% or $200 before you add it up.

While these official rules gradually disappeared from common play, other unofficial “house rules” came to take their place. We always put funds collected from Chance/Community Chest cards into a “kitty” that was given to whoever landed on Free Parking. Many others gave $400 when landed on “Go,” or didn’t allow rent to be collected while in jail.

Many of us learned Monopoly like we learned the rules of dodgeball or rock-scissors-paper — spread by word-of-mouth from family and friends.

It’s interesting to see a commercial game see the same sort of cultural variation as other children’s folk games.

But maybe that’s appropriate for a game that was itself derived from another board game. Contrary to popular belief, Charles Darrow didn’t invent Monopoly in 1933 from scratch. It was heavily based on The Landlord’s Game, an innovative board game patented in 1904 by Lizzie Magie, to be a “practical demonstration of the present system of land-grabbing with all its usual outcomes and consequences.”

The Landlord’s Game and its variations like “Auction Monopoly” and “The Fascinating Game of Finance” spread by word of mouth throughout the early-20th century with evolving rules and hand-drawn boards, popular among the Quakers and used as a teaching aid for university students.

In 1933, Charles Darrow played a homemade version of The Landlord’s Game printed on oil cloth, saw the market potential, and tried to patent the new “Monopoly” as his own. After finding great success selling handmade versions, he sold the rights to Parker Brothers. Parker Brothers bought Magie’s patent for $500 to have an undisputed claim to the board game, but was threatened by other popular competitors and homemade variations. Through a process of litigation, acquisition, and quiet settlements during the late-1930s, Parker Brothers wiped all the other derivative versions of The Landlord’s Game off the map.

By the 1970s, Parker Brothers’ revisionist history was canon — the official Monopoly rules and a 1974 book on the history of the game stated that the game was created solely by Charles Darrow.

So, when someone says you’re playing Monopoly wrong, tell them you’re playing your own version… just like Darrow did.

Because everything is a remix.

Sweet Tea

I’m a regular at Meat Cheese Bread, my favorite sandwich shop in Portland. Even though I’m sick and feel like hell, I ventured out to pick up a to-go order today, because their egg salad sandwich makes everything better. John, the owner, was working the counter.

Me: Can I make a suggestion?

John: Sure.

Me: You guys should make a sweet tea.

John (emphatically): No.

Me: Why?

John: Because it’s disgusting. I make all the iced tea myself. Simple syrup’s over there. If you want to ruin it, go ahead.

Some people would get turned off by this, others would be downright pissed. But this is exactly what I like in a business, and it’s why I eat there at least once a week.

John’s singular, uncompromising vision is why the food is so damned great. He’s not trying to make a restaurant that makes everyone happy; he built a place that he’d want to eat at, and if you don’t like it, piss off.

Meat Cheese Bread. Photo by Tim Roth on Flickr.

The same goes for the web. I’d rather use a service that has a strong, single-minded vision, even if some of the decisions aren’t exactly how I’d want them, than a washed-out, milquetoast service created by committee, designed to meet market demand, that tries to make everybody happy.

Another way to put it: if someone out there doesn’t hate your product, it’s probably not worth using.

Lessons Learned from the President's Tweet

Over at the Expert Labs blog, I did some digging into the unusually large response to the President’s first tweet on @whitehouse during the Twitter Town Hall. In the process, I played around using Twitter Lists as tags, some phrase analysis, and more fun with charts.

I’m cross-posting it below, for posterity. Hope you enjoy it!


During the Twitter Town Hall collaboration with the White House, President Obama posted a single tweet to @whitehouse, asking this question:

Obama's deficit tweet

This was historic for two reasons: it was the first time that a President has ever posted directly to a social network from the White House. Second, it was the first time the President’s directly asked for feedback from users of a social network.

There was some great analysis of the Twitter Town Hall activity, including TwitSprout’s infographics and Radian6’s detailed postmortem on Wednesday. Both focused on the #askobama questions that were asked before and during the Town Hall. Using ThinkUp’s data collecting responses to the President’s first tweet, I’d like to focus specifically on responses to the President’s question above.

We’ve been using ThinkUp to archive and analyze the White House’s Twitter account since May 1, 2009 and, as we’ve shared before, have gathered a pretty amazing corpus for analysis. With that, it’s useful to see how people responded to this new kind of personal, inquisitive behavior relative to past activity.

The short version: the response to the President’s tweet drew more than three times the number of responses as the nearest runner-up, and more than six times more replies than anything posted in the last year. There were over 1,850 responses to his deficit question, topping the two Grand Challenges questions from April 2010 combined. You can see them all on the White House’s ThinkUp.

Whitehouse_tweet_popularity

By comparison, the chart below shows the top ten most-replied tweets since the White House started using Twitter.

Replies Tweet Date
1,857 in order to reduce the deficit,what costs would you cut and what investments would you keep – bo 2011 July 6
583 What Grand Challenge should be on our Nation’s to-do list? Reply w/your idea now! http://bit.ly/dy9fkL #whgc 2010 April 14
461 The next Apollo program or human genome project? Respond w/a Grand Challenge our Nation should address: http://bit.ly/b1Fyq9 #whgc 2010 April 12
286 The President, VP, national security team get updated on mission against Osama bin Laden in the Sit Room, 5/1/11 http://twitpic.com/4si89t 2011 May 2
200 Today, there are over 20k border patrol agents — double the number in 2004. Send thoughts on #immigration reform our way. 2011 May 7
172 Obama’s long form birth certificate released so that America can move on to real issues that matter to our future http://goo.gl/fNmdR 2011 April 27
165 President Obama just presented a parody movie trailer @ the #WHCD Enjoy: http://www.youtube.com/watch?v=508aCh2eVOI 2011 May 1
150 Reply to us w/ your questions for top WH policy folks, we’ll take some in our online panel right after #SOTU at http://wh.gov 2011 January 25
129 President Obama on the phone with President Hosni Mubarak of Egypt in the Oval Office, VP Biden listens http://twitpic.com/3ubl1u 2011 January 29
122 President Obama on Libya: “I refused to wait for the images of slaughter and mass graves before taking action” Full video: http://wh.gov/aDC 2011 March 29

It’s worth noting that eight out of the top 10 most replied were all posted in the last six months, suggesting that the White House’s New Media team is increasing its effectiveness in engaging its audience on Twitter, even as that audience grows.

This tweet was the most effective the White House has ever been at drawing a behavior response from its followers. This is interesting, because it differs from typical tweets in two ways:

  • It is personal (using the President’s “- bo” signature)
  • It asks a concrete question

While some of the response could be attributed to the focus on the Twitter event, it’s likely that continuing this question-answer process with a personal touch leads to deeper and richer engagement.

 

Who talks to @whitehouse?

To help determine the subject expertise for each of the respondents, I used the Twitter API to retrieve the lists that each person belonged to. My hope was that the list names could act as tags, like on Delicious or Flickr, to help group and categorize individuals.

Because lists are often used for personal use, the most frequently-used list names include some unhelpful ones like “friends” and “people,” but many can be used as useful categories like “politics,” “writers,” and “tech.” Here’s a Wordle of the top 100 most frequently used.

Whitehouse_wordle
Lists that @whitehouse responders belong to

These lists let us examine the responses from different facets. Here are the top five responses from people most tagged with “politics” or “political”:

mommadona mommadona .@whitehouse War, as a political tool, is no longer an option in the 21st Century. Make it so. #ASKOBAMA #dem #p2 #p21
lheal Loren Heal @whitehouse Investments? You mean spending. When the government spends, it crowds out private investment rather than encouraging it.
tlanehudson Lane Hudson @whitehouse Fair tax based on ability to pay. End war spending.
SeamusCampbell Seamus Campbell @whitehouse Police forces for each cabinet-level department #askobama
lisalways lisalways @whitehouse Peacetime defense should be cut, minimize war in Afg & end soon. Stop Bush Tax cuts. Push hard for advance on infrastructure

Compare that to people tagged with “tech” or “technology”:

colonelb David Britten @whitehouse Eliminate the federal department of education and return education to the states. #askobama
sharonburton Sharon Burton @whitehouse Health and education are the conditions for prosperity. Cut tax benefits to corporations. They benefit from the conditions.
TotalTraining Total Training @whitehouse less international support and wars more focus on domestic concerns like education for the young and old
atkauffman andrew kauffman @whitehouse costs need to be those that citizens do not need, loopholes, high costs of congress etc investments in learning and CHILDREN

As you’d expect, the responses are very different from people tagged “green”:

LynnHasselbrgr Lynn Hasselberger @whitehouse cut defense, big oil subsidies, tax extension on wealthiest, corp tax loopholes. Invest in teachers + cleanenergy #AskObama
CBJgreennews Susan Stabley . @whitehouse Will you support the end of government subsidies for oil and energy companies, esp. those that have record profits? #askObama
ladyaia Susan Welker, AIA @whitehouse Money given to farmers of GMO products and more support of organic farmers. Our health costs would be reduced by better food.
SmartHomes Daniel Byrne(Smarty) @whitehouse jobs and budget fix: massive release of oil from strategic reserve to lower oil price. Effect: No cost stimulus package 4 every1
dcgrrl DC Grrl @whitehouse I would definitely cut subsidies to energy companies, and I’d keep infrastructure and education investments. #askobama

It’s surprising how useful these results are, considering how limited Twitter Lists are exposed throughout the interface. This suggests that Twitter List memberships can be a useful measure of determining a user’s authority in subject areas, which we’ll be looking into for ThinkUp.

 

The Answers

When asked where to reduce spending, 479 people (about 25%) included some variation of “war,” “defense” or “military.” Other popular suggestions included raising taxes/ending the Bush-era tax cuts (11%) and tax subsidies for oil companies and farming (6%). People seemed to be evenly split between those who want to protect Medicare and Social Security and those who want to see it overhauled.

With regards to where to invest for the future, the most popular was education, with about 17% of responses including terms like “education,” “school” or “teachers.” 6% want to see renewed investments in energy, 5% on infrastructure projects, and 2% in health care. (Surprisingly, only 15 people mentioned decriminalizing marijuana.)

For the full set of responses, you can browse them all on ThinkUp. Or, if you like, the entire dataset is available on Google Docs or embedded below.

 

Conclusion

For us, it’s been fascinating to see an American President use social media to directly ask questions and get answers. We hope other government agencies are taking note of how powerful the combination of a direct question, authentic voice, and an audience can be for democracy. And these lessons extend to the private sector, as well: every company can learn how to better interact with their community from this national experiment in democracy.

The next step, of course, is to make sure those answers are useful enough to inform decision-making. If our representatives are listening, and people feel they’re being heard, everyone benefits.

We’re happy for people to reuse our findings. Any questions about these results can be addressed to [email protected].

Kind of Screwed

TL;DR version: Last year, I was threatened with a lawsuit over the pixel art album cover for Kind of Bloop. Despite my firm belief that I was legally in the right, I settled out of court to cut my losses. This ordeal was very nerve-wracking for me and my family, and I’ve had trouble writing about it publicly until now.

Note: I posted this on Twitter and Maisel’s Facebook wall before it was deleted, but I’ll repeat it here: I understand you may have strong feelings about this issue, but please don’t harass him publicly or privately. Reasonable discussion about the case is fine; personal attacks, name-calling and abuse are not. We’re all humans here. Be cool.

Still want the full story? Read on.

(Note: This post was reviewed by both my and Jay Maisel’s legal counsel.)

The Long Version

Remember Kind of Bloop, the chiptune tribute to Miles Davis’ Kind of Blue that I produced? I went out of my way to make sure the entire project was above board, licensing all the cover songs from Miles Davis’s publisher and giving the total profits from the Kickstarter fundraiser to the five musicians that participated.

But there was one thing I never thought would be an issue: the cover art.

Before the project launched, I knew exactly what I wanted for the cover — a pixel art recreation of the original album cover, the only thing that made sense for an 8-bit tribute to Kind of Blue. I tried to draw it myself, but if you’ve ever attempted pixel art, you know how demanding it is. After several failed attempts, I asked a talented friend to do it.

You can see the results below, with the original album cover for comparison.

Original photo © Jay Maisel. Low-resolution images used for critical commentary qualifies as fair use. (Usually! Sometimes!)

In February 2010, I was contacted by attorneys representing famed New York photographer Jay Maisel, the photographer who shot the original photo of Miles Davis used for the cover of Kind of Blue.

In their demand letter, they alleged that I was infringing on Maisel’s copyright by using the illustration on the album and elsewhere, as well as using the original cover in a “thank you” video I made for the album’s release. In compensation, they were seeking “either statutory damages up to $150,000 for each infringement at the jury’s discretion and reasonable attorneys fees or actual damages and all profits attributed to the unlicensed use of his photograph, and $25,000 for Digital Millennium Copyright Act (DMCA) violations.”

After seven months of legal wrangling, we reached a settlement. Last September, I paid Maisel a sum of $32,500 and I’m unable to use the artwork again. (On the plus side, if you have a copy, it’s now a collector’s item!) I’m not exactly thrilled with this outcome, but I’m relieved it’s over.

But this is important: the fact that I settled is not an admission of guilt. My lawyers and I firmly believe that the pixel art is “fair use” and Maisel and his counsel firmly disagree. I settled for one reason: this was the least expensive option available.

At the heart of this settlement is a debate that’s been going on for decades, playing out between artists and copyright holders in and out of the courts. In particular, I think this settlement raises some interesting issues about the state of copyright for anyone involved in digital reinterpretations of copyrighted works.

Fair Use?

French street artist Invader recreates Joel Brodsky’s iconic Jim Morrison photo with Rubik’s Cubes

There are a lot of myths and misconceptions about “fair use” on the Internet. Everyone thinks they know what fair use is, but not even attorneys, judges, and juries can agree on a clear definition. The doctrine itself, first introduced in the 1976 Copyright Act, is frustratingly vague and continually being reinterpreted.

Four main factors come into play:

  1. The purpose and character of your use: Was the material transformed into something new or copied verbatim? Also, was it for commercial or educational use?
  2. The nature of the copyrighted work
  3. The amount and substantiality of the portion taken, and
  4. The effect of the use upon the potential market

For each case, courts take these factors into account and render a verdict, occasionally contradicting the opinions of past judges and juries.

The crux of our disagreement hinges on the first factor — whether the Kind of Bloop illustration is “transformative.”

Transformative Works

John Taylor deconstructs iconic movie posters at Film the Blanks. Many are available for sale in poster form.

In his influential paper on fair use, Judge Pierre N. Leval wrote, “Factor One is the soul of fair use.” Stanford’s Fair Use Center asks, “Has the material you have taken from the original work been transformed by adding new expression or meaning? Was value added to the original by creating new information, new aesthetics, new insights and understandings?”

From the beginning, Kind of Bloop was a creative experiment. I was drawn to the contradiction between the textured, subdued emotion in Kind of Blue and the cold, mechanical tones of retro videogame music. The challenge was to see whether chiptune artists could create something highly improvisational, warm, and beautiful from the limited palette of 1980s game consoles. (I think we succeeded.)

Similarly, the purpose of the album art was to engage both artist and viewer in the same exercise — can NES-style pixel art capture the artistic essence of the original album cover, with a fraction of the resolution and color depth of an analog photograph?

It reinforced the artistic themes of the project, to convey the feel of an entire album reimagined through an 8-bit lens. Far from being a copy, the cover art comments on it and uses the photo in new ways to send a new message.

This kind of transformation is the foundation of fair use. In a 2006 verdict, the court found artist Jeff Koons’ use of a fashion photo “adds something new, with a further purpose or different character, altering the first with new expression, meaning, or message.”

I don’t think there’s any question that Kind of Bloop’s cover illustration does the same thing. Maisel disagreed.

The Other Factors

Brock Davis’s gorgeous abstract Donkey Kong from his Arcade Expressionism series, now a Threadless t-shirt.

The second fair use factor is the nature of the copyrighted work. Works that are published and factual lean towards fair use, works that are unpublished and creative towards infringement. While Maisel’s photograph is creative, it’s also primarily documentary in nature and it was published long before my illustration was created.

With regard to the third factor, although the illustration does represent the cover of Kind of Blue, it does so at a dramatically reduced resolution that incorporates few of the photograph’s protectable elements. Courts routinely find fair use even where the entirety of an image is used.

The fourth factor considers the impact on the market value of the original work. It’s obvious the illustration isn’t a market substitute for the original: it’s a low-resolution artistic rendering in the style of 8-bit computer graphics that is, at best, of interest to a few computer enthusiasts.

And it’s worth noting that trying to license the image would have been moot. When asked how much he would’ve charged for a license, Maisel told his lawyer that he would never have granted a license for the pixel art. “He is a purist when it comes to his photography,” his lawyer wrote. “With this in mind, I am certain you can understand that he felt violated to find his image of Miles Davis, one of his most well-known and highly-regarded images, had been pixellated, without his permission, and used in a number of forms including on several websites accessible around the world.”

Back to Reality

The AP sued Shepard Fairey for basing his famous Obama Hope poster on a news photo. He faked evidence in the ongoing case, damaging his fair use defense, leading to an out of court settlement.

In practice, none of this matters. If you’re borrowing inspiration from any copyrighted material, even if it seems clear to you that your use is transformational, you’re in danger. If your use is commercial and/or potentially objectionable, seek permission (though there’s no guarantee it’ll be granted) or be prepared to defend yourself in court.

Anyone can file a lawsuit and the costs of defending yourself against a claim are high, regardless of how strong your case is. Combined with vague standards, the result is a chilling effect for every independent artist hoping to build upon or reference copyrighted works.

The End

Mike Stimpson recreates Malcolm Browne’s Pulitzer-winning 1963 photo of a Vietnamese monk’s self-immolation.

It breaks my heart that a project I did for fun, on the side, and out of pure love and dedication to the source material ended up costing me so much — emotionally and financially. For me, the chilling effect is palpably real. I’ve felt irrationally skittish about publishing almost anything since this happened. But the right to discuss the case publicly was one concession I demanded, and I felt obligated to use it. I wish more people did the same — maybe we wouldn’t all feel so alone.

If you feel like it, you’re still welcome to buy digital copies of Kind of Bloop (without the cover art) at kindofbloop.com. Donations can be made to the EFF, and you’ll get a rad 8-bit shirt for joining. And if you have any ideas for an alternate album cover that won’t land me in court, bring it on!

Special thanks to my lawyers (Chris, Erica & Ben), the EFF, Fred von Lohmann, and the team at Kickstarter for moral support.

More Fun with Art Appropriation

I’m collecting examples of reinterpretations of copyrighted works, like the ones interspersed in this post. Here’s some more I found:

I’ve turned off comments, but I’d love to hear your thoughts and any more relevant examples. Send me an email or instant message, or find me on Twitter.

Extra credit: Where would you draw the line?

Playable Archaeology: An Interview with Telehack's Anonymous Creator

Telehack is the most interesting game I’ve played in the last year… a game that most users won’t realize is a game at all.

It’s a tour de force hack — an interactive pastiche of 1980s computer history, tying together public archives of Usenet newsgroups, BBS textfiles, software archives, and historical computer networks into a multiplayer adventure game.

Among its features:

  • Connect to over 24,000 simulated hosts, with logged-in ghost users with historically-accurate names culled from UUCP network maps.
  • Hacking metagames, using simplified wardialers and rootkit tools.
  • User classes that act as an achievements system.
  • Group chat with relay, and one-on-one chat with send or talk.
  • Reconstructed Usenet archives, including the Wiseman collection.
  • A BASIC interpreter with historical programs from the SIMTEL archives.
  • Standalone playable games, including Rogue and a Z-code interpreter for text adventure games like Adventure and Zork.
  • Hidden hosts and programs, discoverable only by hacking Telehack itself.

The entire project was engineered by “Forbin,” an anonymous Silicon Valley engineer named after the protagonist of Colossus: The Forbin Project. Like the chief engineer of the film, Forbin’s created a networked supercomputer that defies all expectations. (Hopefully it won’t gain sentience and enslave the human race.)

I had to know more. With the help of Paul Ford, I interviewed Forbin about the project — using Telehack’s send utility, naturally. Read on for the full interview about his motivations, how it’s built, and why he’s chosen to remain anonymous.

Andy Baio: So, first off, I want to tell you how much I’m in love with Telehack. You’ve made something truly unique… I’d love to hear about your inspiration for building it.

Forbin: Thank you. I’m glad that people are enjoying it. The inspiration was my son. I had shown him the old movies Hackers, Wargames, and Colossus: The Forbin Project and he really liked them. After seeing Hackers and Wargames, he really wanted to start hacking stuff on his own.

I’d taught him some programming, but I didn’t want him doing any actual hacking, so I decided to make a simulation so he could telnet to hosts, hack them, and get the feel of it, but safely.

What did he think?

He really liked it. At first he thought it was all real, and he was actually hacking into government computers and such. It was great. Eventually though, like Santa Claus, he figured out he wasn’t really wardialing all those systems.

He’s been my best beta-tester. 🙂


Hacking a host on Telehack

When do you think he’ll be ready for real-world hacking? Is there a path to graduation from Telehack?

Telehack can help you learn commandline basics. I’ve told him not to ever enter any real systems without permission.

I’m curious if you’ve played Digital: A Love Story. It seems like Christine Love was trying to do something similar — conjuring an earlier time in computing history, but without worrying too much about historical accuracy.

I played a bit of Digital: A Love Story. I thought it was wonderful. I really liked the atmosphere it evoked. That was the same effect I was going for in Telehack, but in a different way. Silent, no sound… Just green text and more code, but the same emotion.

Regarding historical accuracy, one of the surprising things about Telehack is how those old systems were hard to use. Whenever a movie or a book looks back at the past, it can look through a set of lenses that make the past seem more engaging and accessible, and sometimes add a narrative. Someone on Hacker News referred to Telehack as “MovieOS,” and that’s exactly right.

There are actual TOPS-10 systems on the net you can get accounts on. They’re not easy to get into. I wanted to reduce the usability barriers to the old commandline interfaces, while giving the same feel of the systems, and blend some of the good things I remembered from various systems together.

Telehack seems to borrow quite a bit from modern videogame theory… Integrated tutorials, slowly ramping up difficulty, multiple avenues to exploration without a linear path. Paul Ford suspected you’re a game designer.

I have done some computer games, although that is not my profession. I really admire the advances that have occurred in game design, although I’m not much of a gamer myself. Mostly, I wanted to help newcomers get across barriers of accessibility which is what the old tutorial manuals were all about.

Read an old DECsystem-20 manual. It tells you, in excruciating detail, how to type control-C to interrupt a program. It turns out people still need to know that but aren’t being told anymore.

The other part is that the system is open-ended. It has all this old code that is animated by resurrecting an interpreter for a dead language. People can run programs again that haven’t been run — and experienced — for 20 years. And see old files through a lens that makes them look like they used to. That’s fun.

Speaking of old files, the way you used the textfiles.com and Usenet archives feels brand new. You’ve created a playful environment for exploring archival material in a new way. It made me wonder what other data sources could be reinvented by making them game-like.

What Jason Scott did with textfiles.com is heroic. He’s saving away all this stuff that is completely unique, and irretrievable otherwise. But to make people want to see it, byte by byte, I thought it would be neat to offer it up, a piece at a time, in a format similar to how the files were originally experienced.

You dial some modem number — not busy! It actually connects and then you see what files they have and download some of them. Most of them are crazy stuff but period-relevant. So it’s a way to animate old text files.

Same thing with the Usenet archive, although my Usenet reader needs some work. It’s pretty crufty. There is so much in there, I haven’t really found a good way to get people back into it yet.

Folks would wait in anticipation for Usenet — the daily poll — where your modem would call some hub and get you the news. I have to find some way to bring that back to the archive.

Google Groups doesn’t give that feeling. Neither does Telehack’s usenet command currently. Still noodling on that.


Reading Usenet posts from 1982

Does it advance in real-time? Are you adding “new” articles to the archive in a rolling period?

No, although that’s a good idea for a way for it to be more dynamic and engaging.

You’ve been adding features incrementally since you launched it, but how long did it initially take you to build from conception?

If you type uptime, it says sysgen was 454d ago at 07-Mar-10 20:26:00. That’s when I started working on it. Not full-time, there were months when I didn’t have any time to work on it. It’s mostly been a small side project.

What was the hardest thing to get right?

There is one feature that works in the telnet interface, but not in the http client yet — the baud rate simulation. If you dial or wardial into a host and you’re connected to Telehack with telnet, it will actually give you a 2400 or 9600 or whatever connection, but that doesn’t work on the html interface yet sadly.

It’s not the same when you dial into a host and the text renders instantly. For the full authentic feel, you should have to wait for the lines to appear slowly, as we once did. 🙂

I keep my 300 baud VicModem on my desk as a reminder of how good we have it now.

300 baud was really slow! I started there too, with a Hayes on an Apple II. Type baud 300 on Telehack, it’s hard to see how we could use those systems, but we did. They were amazing, even at that speed.

I’d love to hear more about the technology behind it.

Telehack is built in Perl, in a single process, in an epoll-driven event loop. There are two interpreters — Z-code, which is an interpreter called Rezrov in CPAN, and a BASIC interpreter, which I wrote. Currently it doesn’t fork any external code. Various functions, including the 6502/VAX CPU and such, are simulated.

Any plans to open-source any of it? I’m sure some of the community would love to hack on Telehack, to extend it in different directions.

Yes, I plan to open it up at some point.

So, I have to ask: why the anonymity? The mystery definitely adds to the fun, but most people would love to take credit for such an impressive project.

Well, I have a day job, and I didn’t want this to be a distraction. I also made this for my kid, but didn’t really want to expose him to a larger internet just yet.

Are you worried that coming out from behind the curtain will bring attention to him too? I’m the parent of a six-year-old, and can definitely appreciate that.

At an earlier point in my career, I got a lot of press for a project I did. The intense interest from that made me very cautious about what I put online. I took down my personal photos and such. I would be sad if I felt like I had to take down Telehack.

Makes sense. What have you thought about the reaction? Like several others, when I first saw Telehack, I completely underestimated its depth. It seems like an deep rabbit hole that endlessly rewards curiosity.

I’m extremely happy that people are enjoying it. I was a bit sad that some commenters initially dismissed it as a simple JS shell. It was pretty cool when the first person found ptycon and the secret entry points in the system monitor.

With zero fans, I’d be pretty disappointed. With any n > 0, I’m happy. I don’t expect it’s a huge audience though. Doesn’t have to be. It’s an artistic/historical project to me.


Viewing users on NYU’s cmcl2 network circa 1988, and me.

You’ve done some incredible data archaeology here — reconstructing 25,000 hosts from the early Internet, along with the people that used them at the time. One guy on Hacker News was able to find himself and his two best friends at the time logged into the host he first used when he get online. How did you do it?

Well, a lot of this information is available online, but you need to look at the right way to interpret it.

Were you able to find yourself in the archives?

Yup, I’m in there.

Any specific rules for how you scattered the text and game files across hosts?

There is some topic-clustering for the text files, the rest is mostly random. But I’m still working on the game parts of this thing.

If Telehack ever takes off, would you ever consider doing it for a living? I have no idea what you do for a living, but I can’t help but think you’ve missed your true calling as a game designer.

Well, thank you for that. 🙂 I’ll have to get back to you on that. At this point, I’m mostly interested in fleshing it out, so I’m happy with it.

Telehack’s a pastiche of many different systems, networks, and tools from the mid- to late-1980s. It’s rich with nostalgia. Is there anything you miss from that era?

Good question. The commandline was a universal language. You had to learn it, there was a curve, but it wasn’t that hard. Heck, we were all being taught it in the new classes in middle school. But the GUI’s mission was to kill it.

My worry is that the CLI was symbolic, algebraic, whereas the GUI is… pictorial, or one-step, or something.

hosts | grep foo

It’s important that you understand that. If you’re graduating from any university today, it’s an algebra more important than… uh, algebra, maybe.

I actually don’t miss anything from that era. But I want the best of what was known then to propagate today.