Dan Q

Tag: history

Get Lost on the Web

Get lost

I got lost on the Web this week, but it was harder than I’d have liked.

The Ypsilanti Water Tower, at the intersection of Washtenaw Avenue and Cross Street, Ypsilanti, Michigan. The tower is listed in the National Register of Historic Places, and is a National Historic Civil Engineering Landmark. An American flag and a Greek flag are flying, and a bust of the Greek general, Demetrios Ypsilantis (also commonly spelled "Demetrius Ypsilanti"), for whom the city is named, is in the foreground. Photo by Dwight Burdette, used under a Creative Commons license.
Now that’s a suggestive erection. Photo by Dwight Burdette.

There was a discussion this week in the Abnib WhatsApp group about whether a particular illustration of a farm was full of phallic imagery (it was). This left me wondering if anybody had ever tried to identify the most-priapic buildings in the world. Of course towers often look at least a little bit like their architects were compensating for something, but some – like the Ypsilanti Water Tower in Michigan pictured above – go further than others.

I quickly found the Wikipedia article for the Most Phallic Building Contest in 2003, so that was my jumping-off point. It’s easy enough to get lost on Wikipedia alone, but sometimes you feel the need for a primary source. I was delighted to discover that the web pages for the Most Phallic Building Contest are still online 18 years after the competition ended!

1969 shot tower at Tower Wharf, Bristol. Photo by Anthony O'Neil, used under a Creative Commons license.
The Cheese Lane Shot Tower in Bristol – politely described as a “Q-tip” shape – was built in 1969 to replace the world’s first shot tower elsewhere in the city. Photo by Anthony O’Neil.

Link rot is a serious problem on the Web, to such an extent that it’s pleasing when it isn’t present. The other year, for example, I revisited a post I wrote in 2004 and was pleased to find that a linked 2003 article by Nicholas ‘Aquarion’ Avenell is still alive at its original address! Contrast Jonathan Ames, the author/columnist/screenwriter who created the Most Phallic Building Contest until as late as 2011 before eventually letting his  site and blog lapse and fall off the Internet. It takes effort to keep Web content alive, but it’s worth more effort than it’s sometimes given.

Anyway: a shot tower in Bristol – a part of the UK with a long history of leadworking – was among the latecomer entrants to the competition, and seeing this curious building reminded me about something I’d read, once, about the manufacture of lead shot. The idea (invented in Bristol by a plumber called William Watts) is that you pour molten lead through a sieve at the top of a tower, let surface tension pull it into spherical drops as it falls, and eventually catch it in a cold water bath to finish solidifying it. I’d seen an animation of the process, but I’d never seen a video of it, so I went about finding one.

Cross-section animation showing lead shot being poured into a sieve, separating into pellets, and falling into a water bath.
The animation I saw might have been this one, or perhaps one that wasn’t so obviously-made-in-MS-Paint.

British Pathé‘s YouTube Channel provided me with this 1950 film, and if you follow only one hyperlink from this article, let it be this one! It’s a well-shot (pun intended, but there’s a worse pun in the video!), and while I needed to translate all of the references to “hundredweights” and “Fahrenheit” to measurements that I can actually understand, it’s thoroughly informative.

But there’s a problem with that video: it’s been badly cut from whatever reel it was originally found on, and from about 1 minute and 38 seconds in it switches to what is clearly a very different film! A mother is seen shepherding her young daughter off to bed, and a voiceover says:

Bedtime has a habit of coming round regularly every night. But for all good parents responsibility doesn’t end there. It’s just the beginning of an evening vigil, ears attuned to cries and moans and things that go bump in the night. But there’s no reason why those ears shouldn’t be your neighbours ears, on occasion.

Black & white framegrab showing a woman following her child, wearing pyjamas, towards a staircase up.
“Off to bed, you little monster. And no watching TikTok when you should be trying to sleep!”

Now my interest’s piqued. What was this short film going to be about, and where could I find it? There’s no obvious link; YouTube doesn’t even make it easy to find the video uploaded “next” by a given channel. I manipulated some search filters on British Pathé’s site until I eventually hit upon the right combination of magic words and found a clip called Radio Baby Sitter. It starts off exactly where the misplaced prior clip cut out, and tells the story of “Mr. and Mrs. David Hurst, Green Lane, Coventry”, who put a microphone by their daughter’s bed and ran a wire through the wall to their neighbours’ radio’s speaker so they can babysit without coming over for the whole evening.

It’s a baby monitor, although not strictly a radio one as the title implies (it uses a signal wire!), nor is it groundbreakingly innovative: the first baby monitor predates it by over a decade, and it actually did use radiowaves! Still, it’s a fun watch, complete with its contemporary fashion, technology, and social structures. Here’s the full thing, re-merged for your convenience:

Wait, what was I trying to do when I started, again? What was I even talking about…

It’s harder than it used to be

It used to be easier than this to get lost on the Web, and sometimes I miss that.

Obviously if you go back far enough this is true. Back when search engines were much weaker and Internet content was much less homogeneous and more distributed, we used to engage in this kind of meandering walk all the time: we called it “surfing” the Web. Second-generation Web browsers even had names, pretty often, evocative of this kind of experience: Mosaic, WebExplorer, Navigator, Internet Explorer, IBrowse. As people started to engage in the noble pursuit of creating content for the Web they cross-linked their sources, their friends, their affiliations (remember webrings? here’s a reminder; they’re not quite as dead as you think!), your favourite sites etc. You’d follow links to other pages, then follow their links to others still, and so on in that fashion. If you went round the circles enough times you’d start seeing all those invariably-blue hyperlinks turn purple and know you’d found your way home.

Screenshot showing Netscape Communicator running on Windows 98, showing Dan's vanity page circa 1999.
Some parts of the Web are perhaps best forgotten, though?

But even after that era, as search engines started to become a reliable and powerful way to navigate the wealth of content on the growing Web, links still dominated our exploration. Following a link from a resource that was linked to by somebody you know carried the weight of a “web of trust”, and you’d quickly come to learn whose links were consistently valuable and on what subjects. They also provided a sense of community and interconnectivity that paralleled the organic, chaotic networks of acquaintances people form out in the real world.

In recent times, that interpersonal connectivity has, for many, been filled by social networks (let’s ignore their failings in this regard for now). But linking to resources “outside” of the big social media silos is hard. These advertisement-funded services work hard to discourage or monetise activity that takes you off their platform, even at the expense of their users. Instagram limits the number of external links by profile; many social networks push for resharing of summaries of content or embedding content from other sources, discouraging engagement with the wider Web,  Facebook and Twitter both run external links through a linkwrapper (which sometimes breaks); most large social networks make linking to the profiles of other users of the same social network much easier than to users anywhere else; and so on.

The net result is that Internet users use fewer different websites today than they did 20 years ago, and spend most of their “Web” time in app versions of websites (which often provide a better experience only because site owners strategically make it so to increase their lock-in and data harvesting potential). Truly exploring the Web now requires extra effort, like exercising an underused muscle. And if you begin and end your Web experience on just one to three services, that just feels kind of… sad, to me. Wasted potential.

A woman reading a map. Photo by Leah Kelly.
I suppose nowadays we don’t get lost as often outside of the Internet, either. Photo by Leah Kelly.

It sounds like I’m being nostalgic for a less-sophisticated time on the Web (that would certainly be in character!). A time before we’d fully-refined the technology that would come to connect us in an instant to the answers we wanted. But that’s not exactly what I’m pining for. Instead, what I miss is something we lost along the way, on that journey: a Web that was more fun-and-weird, more interpersonal, more diverse. More Geocities, less Facebook; there’s a surprising thing to find myself saying.

Somewhere along the way, we ended up with the Web we asked for, but it wasn’t the Web we wanted.

The Ypsilanti Water Tower, at the intersection of Washtenaw Avenue and Cross Street, Ypsilanti, Michigan. The tower is listed in the National Register of Historic Places, and is a National Historic Civil Engineering Landmark. An American flag and a Greek flag are flying, and a bust of the Greek general, Demetrios Ypsilantis (also commonly spelled "Demetrius Ypsilanti"), for whom the city is named, is in the foreground. Photo by Dwight Burdette, used under a Creative Commons license.× Cross-section animation showing lead shot being poured into a sieve, separating into pellets, and falling into a water bath.× Black & white framegrab showing a woman following her child, wearing pyjamas, towards a staircase up.× Screenshot showing Netscape Communicator running on Windows 98, showing Dan's vanity page circa 1999.× A woman reading a map. Photo by Leah Kelly.×

Article posted at UTC on .

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Ireland and the UK Aren’t In The Same Timezone!

This weekend, while investigating a bug in some code that generates iCalendar (ICS) feeds, I learned about a weird quirk in the Republic of Ireland’s timezone. It’s such a strange thing (and has so little impact on everyday life) that I imagine that even most Irish people don’t even know about it, but it’s important enough that it can easily introduce bugs into the way that computer calendars communicate:

Most of Europe put their clocks forward in Summer, but the Republic of Ireland instead put their clocks backward in Winter.

If that sounds to you like the same thing said two different ways – or the set-up to a joke! – read on:

Map showing timezones of Europe. The UK and Ireland are grouped (along with Iceland) in a zone labelled as being UTC+0.
The timezones of Europe look pretty simple compared to some parts of the world, but the illustration of the British Isles hides an interesting eccentricity.

A Brief History of Time (in Ireland)

Poster titled "Time (Ireland) Act 1916", advising that "On and after Sunday 1st October 1916 Western European Time will be ovserved throughout Ireland" asking people to set their clocks and watches back 35 minutes.
Spring forward, fall back… just a little bit back, though. Not too much.

After high-speed (rail) travel made mean solar timekeeping problematic, Great Britain in 1880 standardised on Greenwich Mean Time (UTC+0) as the time throughout the island, and Ireland standardised on Dublin Mean Time (UTC-00:25:21). If you took a ferry from Liverpool to Dublin towards the end of the 19th century you’d have to put your watch back by about 25 minutes. With air travel not yet being a thing, countries didn’t yet feel the need to fixate on nice round offsets in the region of one-hour (today, only a handful of regions retain UTC-offsets of half or quarter hours).

That’s all fine in peacetime, but by the First World War and especially following the Easter Rising, the British government decided that it was getting too tricky for their telegraph operators (many of whom operated out of Ireland, which provided an important junction for transatlantic traffic) to be on a different time to London.

1885 GPO telegraph instrument from the Porthcurno Telegraph Museum, which Dan almost visited the other week but it was closed.
It’s widely believed that the world’s first “U UP? [STOP]” message never got a response as a direct result of Anglo-Irish timezone confusion.
So the Time (Ireland) Act 1916 was passed, putting Ireland on Greenwich Mean Time. Ireland put her clocks back by 35 minutes and synched-up with the rest of the British Isles. And from then on, everything was simple and because nothing ever went wrong in Ireland as a result of the way it was governed by by Britain, nobody ever had to think about the question of timezones on the island again.

Ah. Hmm.

December 1920 photograph showing St Patrick's Street, Cork, following the burning of the city by British forces.
“Those Irish people want to govern their own country, do they? After we so kindly shared our king with them? Right-ho: let’s set fire to their cities and see how they feel then.”

Following Irish independence, the keeping of time carried on in much the same way for a long while, which will doubtless have been convenient for families spread across the Northern Irish border. But then came the Second World War.

Summers in the 1940s saw Churchill introduce Double Summer Time which he believed would give the UK more daylight, saving energy that might otherwise be used for lighting and increasing production of war materiel.

Ireland considered using the emergency powers they’d put in place to do the same, as a fuel saving measure… but ultimately didn’t. This was possibly because aligning her time with Britain might be seen as undermining her neutrality, but was more likely because the government saw that such a measure wouldn’t actually have much impact on fuel use (it certainly didn’t in Britain). Whatever the reason, though, Britain and Northern Ireland were again out-of-sync with one another until the war ended.

Newspaper clipping advising that "Double Summer Time comes to an end on Saturday night, August 8-9, when all clocks and watches should be put back one hour, thus reverting to British Summer Time, which will probably be maintained throughout the winter."
I like to imagine that the development of powerful computers by the folks at Bletchley Park was a result of needing to keep track of timezones across the British Isles.

From 1968 to 1971 Britain experimented with “British Standard Time” – putting the clocks forward in Summer once, to UTC+1, and then leaving them there for three years. This worked pretty well except if you were Scottish in which case you’ll have found winter mornings to be even gloomier than you were used to, which was already pretty gloomy. Conveniently: during much of this period Ireland was also on UTC+1, but in their case it was part of a different experiment. Ireland were working on joining the European Economic Community, and aligning themselves with “Paris time” year-round was an unnecessary concession but an interesting idea.

But here’s where the quirk appears: the Standard Time Act 1968, which made UTC+1 the “standard” timezone for the Republic of Ireland, was not repealed and is still in effect. Ireland could have started over in 1971 with a new rule that made UTC+0 the standard and added a “Summer Time” alternative during which the clocks are put forward… but instead the Standard Time (Amendment) Act 1971 left UTC+1 as Ireland’s standard timezone and added a “Winter Time” alternative during which the clocks are put back.

Two clocks, both showing the same time. One has a sign reading "LONDON", the other "DUBLIN, I GUESS?"
It all seems so simple until you actually think about it.

(For a deeper look at the legal history of time in the UK and Ireland, see this timeline. Certainly don’t get all your history lessons from me.)

So what?

You might rightly be thinking: so what! Having a standard time of UTC+0 and going forward for the Summer (like the UK), is functionally-equivalent to having a standard time of UTC+1 and going backwards in the Winter, like Ireland, right? It’s certainly true that, at any given moment, a clock in London and a clock in Dublin should show the same time. So why would anybody care?

Perl Data::ICal::TimeZone implementation of Dublin timezone, incorrectly showing summer DST at +1 rather than winter DST of -1.
This code for Europe/Dublin, from the Perl module Data::ICal::TimeZone, is technically-incorrect because it states that the winter time is the standard and daylight savings of +1 hour apply in the summer, rather than the opposite.

But declaring which is “standard” is important when you’re dealing with computers. If, for example, you run a volunteer rota management system that supports a helpline charity that has branches in both the UK and Ireland, then it might really matter that the computer systems involved know what each other mean when they talk about specific times.

The author of an iCalendar file can choose to embed timezone information to explain what, in that file, a particular timezone means. That timezone information might say, for example, “When I say ‘Europe/Dublin’, I mean UTC+1, or UTC+0 in the winter.” Or it might say – like the code above! – “When I say ‘Europe/Dublin’, I mean UTC+0, or UTC+1 in the summer.” Both of these declarations would be technically-valid and could be made to work, although only the first one would be strictly correct in accordance with the law.

Stressed programmer hunched over a MacBook. Photo by Anna Shvets from Pexels.
Clients who need solid timezone support represent 50% of a programmer’s production of stress hormones. See also Falsehoods Programmers Believe About Time.

But if you don’t include timezone information in your iCalendar file, you’re relying  on the feed subscriber’s computer (e.g. their calendar software) to make a sensible interpretation.. And that’s where you run into trouble. Because in cases like Ireland, for which the standard is one thing but is commonly-understood to be something different, there’s a real risk that the way your system interprets and encodes time won’t necessarily be the same as the way somebody else’s does.

If I say I’ll meet you at 12:00 on 1 January, in Ireland, you rightly need to know whether I’m talking about 12:00 in Irish “standard” time (i.e. 11:00, because daylight savings are in effect) or 12:00 in local-time-at-the-time-of-the-meeting (i.e. 12:00). Humans usually mean the latter because we think in terms of local time, but when your international computer system needs to make sure that people are on a shift at the same time, but in different timezones, it needs to be very clear what exactly it means!

And when your daylight savings works “backwards” compared to everybody else’s… that’s sure to make a developer somewhere cry. And, possibly, blog about your weird legislation.

Map showing timezones of Europe. The UK and Ireland are grouped (along with Iceland) in a zone labelled as being UTC+0.× Poster titled "Time (Ireland) Act 1916", advising that "On and after Sunday 1st October 1916 Western European Time will be ovserved throughout Ireland" asking people to set their clocks and watches back 35 minutes.× 1885 GPO telegraph instrument from the Porthcurno Telegraph Museum, which Dan almost visited the other week but it was closed.× December 1920 photograph showing St Patrick's Street, Cork, following the burning of the city by British forces.× Newspaper clipping advising that "Double Summer Time comes to an end on Saturday night, August 8-9, when all clocks and watches should be put back one hour, thus reverting to British Summer Time, which will probably be maintained throughout the winter."× Two clocks, both showing the same time. One has a sign reading "LONDON", the other "DUBLIN, I GUESS?"× Perl Data::ICal::TimeZone implementation of Dublin timezone, incorrectly showing summer DST at +1 rather than winter DST of -1.× Stressed programmer hunched over a MacBook. Photo by Anna Shvets from Pexels.×

Article posted at UTC on .

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The Ballad of John Crawford

Following the success of our last game of Dialect the previous month and once again in a one-week hiatus of our usual Friday Dungeons & Dragons game, I hosted a second remote game of this strange “soft” RPG with linguistics and improv drama elements.

Thieves’ Cant

Our backdrop to this story was Portsmouth in 1834, where we were part of a group – the Gunwharf Ants – who worked as stevedores and made our living (on top of the abysmal wages for manual handling) through the criminal pursuit of “skimming a little off the top” of the bulk-break cargo we moved between ships and onto and off the canal. These stolen goods would be hidden in the basement of nearby pub The Duke of Wellington until they could be safely fenced, and this often-lucrative enterprise made us the envy of many of the docklands’ other criminal gangs.

I played Katie – “Kegs” to her friends – the proprietor of the Duke (since her husband’s death) and matriarch of the group. I was joined by Nuek (Alec), a Scandinavian friend with a wealth of criminal experience, John “Tuck” Crawford (Matt), adoptee of the gang and our aspiring quartermaster, and “Yellow” Mathias Hammond (Simon), a navy deserter who consistently delivers better than he expects to.

Thieves' Cant tableau at the end of a game of Dialect, with cards strewn around the table.
Our second tableau was somehow more-chaotic than the first, even after I accidentally removed several cards before taking this picture!

While each of us had our stories and some beautiful and hilarious moments, I felt that we all quickly converged on the idea that the principal storyline in our isolation was that of young Tuck. The first act was dominated by his efforts to proof himself to the gang, and – with a little snuff – shake off his reputation as the “kid” of the group and gain acceptance amongst his peers. His chance to prove himself with a caper aboard the Queen Anne went proper merry though after she turned up tin-ful and he found himself kept in a second-place position for years longer. Tuck – and Yellow – got proofed eventually, but the extra time spent living hand-to-mouth might have been what first planted the seed of charity in the young man’s head, and kept most of his numbers out of his pocket and into those of the families he supported in the St. Stevens area.

The second act turned political, as Spiky Dave, leader of the competing gang The Barbados Boys, based over Gosport way, offered a truce between the two rivals in exchange for sharing the manpower – and profits – of a big job against a ship from South Africa… with a case of diamonds aboard. Disagreements over the deal undermined Kegs’ authority over the Ants, but despite their March it went ahead anyway and the job was a success. Except… Spiky Dave kept more than his share of the loot, and agreed to share what was promised only in exchange for the surrender of the Ants and their territory to his gang’s rulership.

We returned to interpersonal drama in the third act as Katie – tired of the gang wars and feeling her age – took perhaps more than her fair share of the barrel (the gang’s shared social care fund) and bought herself clearance to leave aboard a ship to a beachside retirement in Jamaica. She gave up her stake in the future of the gang and shrugged off their challenges in exchange for a quiet life, leaving Nuek as the senior remaining leader of the group… but Tuck the owner of the Duke of Wellington. The gang split into those that integrated with their rivals and those that went their separate ways… and their curious pidgin dissolved with them. Well, except for a few terms which hung on in dockside gang chatter, screeched amongst the gulls of Portsmouth without knowing their significance, for years to come.

Crop from Fine View of 1798 The Gunwharf Portsmouth Dockyard by E G Burrows

Playing Out

Despite being fundamentally the same game and a similar setting to when we played The Outpost the previous month, this game felt very different. Dialect is versatile enough that it can be used to write… adventures, coming-of-age tales, rags-to-riches stories, a comedies, horror, romance… and unless the tone is explicitly set out at the start then it’ll (hopefully) settle somewhere mutually-acceptable to all of the players. But with a new game, new setting, and new players, it’s inevitable that a different kind of story will be told.

But more than that, the backdrop itself impacted on the tale we wove. On Mars, we were physically isolated from the rest of humankind and living in an environment in which the necessities of a new lifestyle and society necessitates new language. But the isolation of criminal gangs in Portsmouth docklands in the late Georgian era is a very different kind: it’s a partial isolation, imposed (where it is) by its members and to a lesser extent by the society around them. Which meant that while their language was still a defining aspect of their isolation, it also felt more-artificial; deliberately so, because those who developed it did so specifically in order to communicate surreptitiously… and, we discovered, to encode their group’s identity into their pidgin.

Prison Hulks in Portsmouth Harbour by Ambrose-Louis Garneray

While our first game of Dialect felt like the language lead the story, this second game felt more like the language and the story co-evolved but were mostly unrelated. That’s not necessarily a problem, and I think we all had fun, but it wasn’t what we expected. I’m glad this wasn’t our first experience of Dialect, because if it were I think it might have tainted our understanding of what the game can be.

As with The Outpost, we found that some of the concepts we came up with didn’t see much use: on Mars, the concept of fibs was rooted in a history of of how our medical records were linked to one another (for e.g. transplant compatibility), but aside from our shared understanding of the background of the word this storyline didn’t really come up. Similarly, in Thieves Cant’ we developed a background about the (vegan!) roots of our gang’s ethics, but it barely got used as more than conversational flavour. In both cases I’ve wondered, after the fact, whether a “flashback” scene framed from one of our prompts might have helped solidify the concept. But I’m also not sure whether or not such a thing would be necessary. We seemed to collectively latch onto a story hook – this time around, centred around Matt’s character John Crawford’s life and our influences on it – and it played out fine.

And hey; nobody died before the epilogue, this time!

I’m looking forward to another game next time we’re on a D&D break, or perhaps some other time.

Thieves' Cant tableau at the end of a game of Dialect, with cards strewn around the table.× Crop from Fine View of 1798 The Gunwharf Portsmouth Dockyard by E G Burrows× Prison Hulks in Portsmouth Harbour by Ambrose-Louis Garneray×

Article posted at UTC on .

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The Devil’s Quoits

I’ve been doing a course provided through work to try to improve my ability to connect with an audience over video. For one of my assignments in this, my fourth week, I picked a topic out from the “welcome” survey I filled out when I first started the course. The topic: the Devil’s Quoits. This stone circle – not far from my new house – has such a bizarre history of construction, demolition, and reconstruction… as well as a fun folk myth about its creation… that I’d thought it’d make a great follow-up to my previous “local history” piece, Oxford’s Long-Lost Zoo. I’d already hidden a “virtual” geocache at the henge, as I previously did for the zoo: a video seemed like the next logical step.

My brief required that the video be only about a minute long, which presented its own challenge in cutting down the story I’d like to tell to a bare minimum. Then on top of that, it took me at least eight takes until I was confident that I’d have one I was happy with, and there’s still things I’d do differently if I did it again (including a better windbreak on my lapel mic, and timing my takes for when geese weren’t honking their way past overhead!).

In any case: part of the ritual of this particular course encourages you to “make videos… as if people will see them”, and I’ve been taking that seriously! Firstly, I’ve been sharing many of my videos with others either at work or on my blog, like the one about how GPS works or the one about the secret of magic. Secondly, I’ve been doing “extra credit” by recording many of my daily-standup messages as videos, in addition to providing them through our usual Slack bot.

Anyway, the short of it is: you’re among the folks who get to see this one. Also available on YouTube.

Video posted at UTC on .

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<blink> and <marquee>

I was chatting with a fellow web developer recently and made a joke about the HTML <blink> and <marquee> tags, only to discover that he had no idea what I was talking about. They’re a part of web history that’s fallen off the radar and younger developers are unlikely to have ever come across them. But for a little while, back in the 90s, they were a big deal.

Macromedia Dreamweaver 3 code editor window showing a <h2> heading wrapped in <marquee> and <blink> tags, for emphasis.
Even Macromedia Dreamweaver, which embodied the essence of 1990s web design, seemed to treat wrapping <blink> in <marquee> as an antipattern.

Invention of the <blink> element is often credited to Lou Montulli, who wrote pioneering web browser Lynx before being joining Netscape in 1994. He insists that he didn’t write any of the code that eventually became the first implementation of <blink>. Instead, he claims: while out at a bar (on the evening he’d first meet his wife!), he pointed out that many of the fancy new stylistic elements the other Netscape engineers were proposing wouldn’t work in Lynx, which is a text-only browser. The fanciest conceivable effect that would work across both browsers would be making the text flash on and off, he joked. Then another engineer – who he doesn’t identify – pulled a late night hack session and added it.

And so it was that when Netscape Navigator 2.0 was released in 1995 it added support for the <blink> tag. Also animated GIFs and the first inklings of JavaScript, which collectively would go on to define the “personal website” experience for years to come. Here’s how you’d use it: 

<BLINK>This is my blinking text!</BLINK>

With no attributes, it was clear from the outset that this tag was supposed to be a joke. By the time HTML4 was published as a a recommendation two years later, it was documented as being a joke. But the Web of the late 1990s saw it used a lot. If you wanted somebody to notice the “latest updates” section on your personal home page, you’d wrap a <blink> tag around the title (or, if you were a sadist, the entire block).

Cameron's World website, screenshot, showing GIFS and bright pallette
If you missed this particular chapter of the Web’s history, you can simulate it at Cameron’s World.

In the same year as Netscape Navigator 2.0 was released, Microsoft released Internet Explorer 2.0. At this point, Internet Explorer was still very-much playing catch-up with the features the Netscape team had implemented, but clearly some senior Microsoft engineer took a look at the <blink> tag, refused to play along with the joke, but had an innovation of their own: the <marquee> tag! It had a whole suite of attributes to control the scroll direction, speed, and whether it looped or bounced backwards and forwards. While <blink> encouraged disgusting and inaccessible design as a joke, <marquee> did it on purpose. 

<MARQUEE>Oh my god this still works in most modern browsers!</MARQUEE>

Oh my god this still works in most modern browsers!

If you see the text above moving… you’re looking at a living fossil in browser history.

But here’s the interesting bit: for a while in the late 1990s, it became a somewhat common practice to wrap content that you wanted to emphasise with animation in both a <blink> and a <marquee> tag. That way, the Netscape users would see it flash, the IE users would see it scroll or bounce. Like this: 

<MARQUEE><BLINK>This is my really important message!</BLINK></MARQUEE>
Internet Explorer 5 showing a marquee effect.
Wrap a <blink> inside a <marquee> and IE users will see the marquee. Delightful.

The web has always been built on Postel’s Law: a web browser should assume that it won’t understand everything it reads, but it should provide a best-effort rendering for the benefit of its user anyway. Ever wondered why the modern <video> element is a block rather than a self-closing tag? It’s so you can embed within it code that an earlier browser – one that doesn’t understand <video> – can read (a browser’s default state when seeing a new element it doesn’t understand is to ignore it and carry on). So embedding a <blink> in a <marquee> gave you the best of both worlds, right? (welll…)

Netscape Navigator 5 showing a blink effect.
Wrap a <blink> inside a <marquee> and Netscape users will see the blink. Joy.

Better yet, you were safe in the knowledge that anybody using a browser that didn’t understand either of these tags could still read your content. Used properly, the web is about progressive enhancement. Implement for everybody, enhance for those who support the shiny features. JavaScript and CSS can be applied with the same rules, and doing so pays dividends in maintainability and accessibility (though, sadly, that doesn’t stop people writing sites that needlessly require these technologies).

Opera 5 showing no blinking nor marquee text.
Personally, I was a (paying! – back when people used to pay for web browsers!) Opera user so I mostly saw neither <blink> nor <marquee> elements. I don’t feel like I missed out.

I remember, though, the first time I tried Netscape 7, in 2002. Netscape 7 and its close descendent are, as far as I can tell, the only web browsers to support both <blink> and <marquee>. Even then, it was picky about the order in which they were presented and the elements wrapped-within them. But support was good enough that some people’s personal web pages suddenly began to exhibit the most ugly effect imaginable: the combination of both scrolling and flashing text.

Netscape 7 showing text that both blinks and marquee-scrolls.
If Netscape 7’s UI didn’t already make your eyes bleed (I’ve toned it down here by installing the “classic skin”), its simultaneous rendering of <blink> and <marquee> would.

The <blink> tag is very-definitely dead (hurrah!), but you can bring it back with pure CSS if you must. <marquee>, amazingly, still survives, not only in polyfills but natively, as you might be able to see above. However, if you’re in any doubt as to whether or not you should use it: you shouldn’t. If you’re looking for digital nostalgia, there’s a whole rabbit hole to dive down, but you don’t need to inflict <marquee> on the rest of us.

Macromedia Dreamweaver 3 code editor window showing a <h2> heading wrapped in <marquee> and <blink> tags, for emphasis.× Internet Explorer 5 showing a marquee effect.× Netscape Navigator 5 showing a blink effect.× Opera 5 showing no blinking nor marquee text.× Netscape 7 showing text that both blinks and marquee-scrolls.×

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A Trip Through New York City in 1911

This article is a repost promoting content originally published elsewhere. See more things Dan's reposted.

With help from a neural network, Denis takes original cinematography of New York City in 1911 and uploads it as an cleaned, upscaled, high-framerate, colourised YouTube video. It’s pretty remarkable: compare it to the source video to see how much of a difference it makes: side-by-side, the smoothness of the frame rate alone is remarkable. It’s a shame that nothing can be done about the underexposed bits of the film where contrast detail is lacking: I wonder if additional analysis of the original print itself might be able to extract some extra information from these areas and them improve them using the same kinds of techniques.

In any event, a really interesting window-to-history!

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Note #16758

Today my #distributed #remotework office is provided by @OCFI_OI, which provides me that most #Oxford of views: simultaneously containing architecture of the 1960s… and the 1160s.

View of 1960s buildings in front of Oxford Castle.

View of 1960s buildings in front of Oxford Castle.×

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Where’s My Elephant?

This article is a repost promoting content originally published elsewhere. See more things Dan's reposted.

…

The “where’s my elephant?” theory takes it name, of course, from The Simpsons episode in which Bart gets an elephant (Season 5, episode 17, to be precise). For those of you who don’t know the episode: Bart wins a radio contest where you have to answer a phone call with the phrase, “KBBL is going to give me something stupid.” That “something stupid” turns out to be either $10,000, or “the gag prize”: a full-grown African elephant. Much to the presenters’ surprise, Bart chooses the elephant — which is a problem for the radio station, since they don’t actually have an elephant to give him. After some attempts at negotiation (the presenters offer Principal Skinner $10,000 to go about with his pants pulled down for the rest of the school year; the presenters offer to use the $10,000 to turn Skinner into “some sort of lobster-like creature”), Bart finds himself kicked out of the radio station, screaming “where’s my elephant?”

…

…the “where’s my elephant?” theory holds the following:

  1. If you give someone a joke option, they will take it.
  2. The joke option is a (usually) a joke option for a reason, and choosing it will cause everyone a lot of problems.
  3. In time, the joke will stop being funny, and people will just sort of lose interest in it.
  4. No one ever learns anything.

…

For those that were surprised when Trump was elected or Brexit passed a referendum, the “Where’s My Elephant?” theory of history may provide some solace. With reference to Boaty McBoatface and to the assassination of Qasem Soleimani, Tom Whyman pitches that “joke” options will be selected significantly more-often that you’d expect or that they should.

Our society is like Bart Simpson. But can we be a better Bart Simpson?

If that didn’t cheer you up: here’s another article, which more-seriously looks at the political long-game that Remainers in Britain might consider working towards.

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It’s 2020 and you’re in the future

This article is a repost promoting content originally published elsewhere. See more things Dan's reposted.

…

West Germany’s 1974 World Cup victory happened closer to the first World Cup in 1930 than to today.

The Wonder Years aired from 1988 and 1993 and depicted the years between 1968 and 1973. When I watched the show, it felt like it was set in a time long ago. If a new Wonder Years premiered today, it would cover the years between 2000 and 2005.

Also, remember when Jurassic Park, The Lion King, and Forrest Gump came out in theaters? Closer to the moon landing than today.

…

These things come around now and again, but I’m not sure of the universal validity of observing that a memorable event is now closer to another memorable event than it is to the present day. I don’t think that the relevance of events is as linear as that. Instead, perhaps, it looks something like this:

Graph showing that recent events matter a lot, but rapidly tail off for a while before levelling out again as they become long-ago events.
Recent events matter more than ancient events to the popular consciousness, all other things being equal, but relative to one another the ancient ones are less-relevant and there’s a steep drop-off somewhere between the two.

Where the drop-off in relevance occurs is hard to pinpoint and it probably varies a lot by the type of event that’s being remembered: nobody seems to care about what damn terrible thing Trump did last month or the month before when there’s some new terrible thing he did just this morning, for example (I haven’t looked at the news yet this morning, but honestly whenever you read this post he’ll probably have done something awful).

Nonetheless, this post on Wait But Why was a fun distraction, even if it’s been done before. Maybe the last time it happened was so long ago it’s irrelevant now?

XKCD 1393: Timeghost - 'Hello, Ghostbusters?' 'ooOOoooo people born years after that movie came out are having a second chiiiild right now ooOoooOoo'
Of course, there’s a relevant XKCD. And it was published closer to the theatrical releases of Cloudy with a Chance of Meatballs and Paranormal Activity than it was to today. OoooOOoooOOoh.
Graph showing that recent events matter a lot, but rapidly tail off for a while before levelling out again as they become long-ago events.×

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The Legend of the Homicidal Fire-Proof Salamander

This article is a repost promoting content originally published elsewhere. See more things Dan's reposted.

In the first century AD, Roman naturalist Pliny the Elder threw a salamander into a fire. He wanted to see if it could indeed not only survive the flames, but extinguish them, as Aristotle had claimed such creatures could. But the salamander didn’t … uh … make it.

Yet that didn’t stop the legend of the fire-proof salamander (a name derived from the Persian meaning “fire within”) from persisting for 1,500 more years, from the Ancient Romans to the Middle Ages on up to the alchemists of the Renaissance. Some even believed it was born in fire, like the legendary Phoenix, only slimier and a bit less dramatic. And that its fur (huh?) could be used to weave fire-resistant garments.

…

Back when the world felt bigger and more-mysterious it was easier for people to come to the conclusion, based on half-understood stories passed-on many times, that creatures like unicorns, dragons, and whatever the Vegetable Lamb of Tartary was supposed to be, might exist just beyond the horizons. Nature was full of mystery and the simple answer – that salamanders might live in logs and then run to escape when those logs are thrown onto a fire – was far less-appealing than the idea that they might be born from the fire itself! Let’s not forget that well into the Middle Ages it was widely believed that many forms of life appeared not through reproduction but by spontaneous generation: clams forming themselves out of sand, maggots out of meat, and so on… with this underlying philosophy, it’s easy to make the leap that sure, amphibians from fire makes sense too, right?

Perhaps my favourite example of such things is the barnacle goose, which – prior to the realisation that birds migrate and coupled with them never being seen to nest in England – lead to the widespread belief that they spontaneously developed (at the appropriate point in the season) from shellfish… this may be the root of the word “barnacle” as used to describe the filter-feeders with which we’re familiar. So prevalent was this belief that well into the 15th century (and in some parts of the world the late 18th century) this particular species of goose was treated as being a fish, not a bird, for the purpose of Christian fast-days.

Anyway; that diversion aside, this article’s an interesting look at the history of mythological beliefs about salamanders.

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Evolving Computer Words: “Hacker”

This is part of a series of posts on computer terminology whose popular meaning – determined by surveying my friends – has significantly diverged from its original/technical one. Read more evolving words…

Anticipatory note: based on the traffic I already get to my blog and the keywords people search for, I imagine that some people will end up here looking to learn “how to become a hacker”. If that’s your goal, you’re probably already asking the wrong question, but I direct you to Eric S. Raymond’s Guide/FAQ on the subject. Good luck.

Few words have seen such mutation of meaning over their lifetimes as the word “silly”. The earliest references, found in Old English, Proto-Germanic, and Old Norse and presumably having an original root even earlier, meant “happy”. By the end of the 12th century it meant “pious”; by the end of the 13th, “pitiable” or “weak”; only by the late 16th coming to mean “foolish”; its evolution continues in the present day.

Right, stop that! It's too silly.
The Monty Python crew were certainly the experts on the contemporary use of the word.

But there’s little so silly as the media-driven evolution of the word “hacker” into something that’s at least a little offensive those of us who probably would be described as hackers. Let’s take a look.

Hacker

What people think it means

Computer criminal with access to either knowledge or tools which are (or should be) illegal.

What it originally meant

Expert, creative computer programmer; often politically inclined towards information transparency, egalitarianism, anti-authoritarianism, anarchy, and/or decentralisation of power.

The Past

The earliest recorded uses of the word “hack” had a meaning that is unchanged to this day: to chop or cut, as you might describe hacking down an unruly bramble. There are clear links between this and the contemporary definition, “to plod away at a repetitive task”. However, it’s less certain how the word came to be associated with the meaning it would come to take on in the computer labs of 1960s university campuses (the earliest references seem to come from around April 1955).

There, the word hacker came to describe computer experts who were developing a culture of:

  • sharing computer resources and code (even to the extent, in extreme cases, breaking into systems to establish more equal opportunity of access),
  • learning everything possible about humankind’s new digital frontiers (hacking to learn, not learning to hack)
  • judging others only by their contributions and not by their claims or credentials, and
  • discovering and advancing the limits of computers: it’s been said that the difference between a non-hacker and a hacker is that a non-hacker asks of a new gadget “what does it do?”, while a hacker asks “what can I make it do?”
Venn-Euler-style diagram showing crackers as a subset of security hackers, who in turn are a subset of hackers. Script kiddies are a group of their own, off to the side where nobody has to talk to them (this is probably for the best).
What the media generally refers to as “hackers” would be more-accurately, within the hacker community, be called crackers; a subset of security hackers, in turn a subset of hackers as a whole. Script kiddies – people who use hacking tools exclusively for mischief without fully understanding what they’re doing – are a separate subset on their own.

It is absolutely possible for hacking, then, to involve no lawbreaking whatsoever. Plenty of hacking involves writing (and sharing) code, reverse-engineering technology and systems you own or to which you have legitimate access, and pushing the boundaries of what’s possible in terms of software, art, and human-computer interaction. Even among hackers with a specific interest in computer security, there’s plenty of scope for the legal pursuit of their interests: penetration testing, security research, defensive security, auditing, vulnerability assessment, developer education… (I didn’t say cyberwarfare because 90% of its application is of questionable legality, but it is of course a big growth area.)

Getty Images search for "Hacker".
Hackers have a serious image problem, and the best way to see it is to search on your favourite stock photo site for “hacker”. If you don’t use a laptop in a darkened room, wearing a hoodie and optionally mask and gloves, you’re not a real hacker. Also, 50% of all text should be green, 40% blue, 10% red.

So what changed? Hackers got famous, and not for the best reasons. A big tipping point came in the early 1980s when hacking group The 414s broke into a number of high-profile computer systems, mostly by using the default password which had never been changed. The six teenagers responsible were arrested by the FBI but few were charged, and those that were were charged only with minor offences. This was at least in part because there weren’t yet solid laws under which to prosecute them but also because they were cooperative, apologetic, and for the most part hadn’t caused any real harm. Mostly they’d just been curious about what they could get access to, and were interested in exploring the systems to which they’d logged-in, and seeing how long they could remain there undetected. These remain common motivations for many hackers to this day.

"Hacker" Dan Q
Hoodie: check. Face-concealing mask: check. Green/blue code: check. Is I a l33t hacker yet?

News media though – after being excited by “hacker” ideas introduced by WarGames – rightly realised that a hacker with the same elementary resources as these teens but with malicious intent could cause significant real-world damage. Bruce Schneier argued last year that the danger of this may be higher today than ever before. The press ran news stories strongly associating the word “hacker” specifically with the focus on the illegal activities in which some hackers engage. The release of Neuromancer the following year, coupled with an increasing awareness of and organisation by hacker groups and a number of arrests on both sides of the Atlantic only fuelled things further. By the end of the decade it was essentially impossible for a layperson to see the word “hacker” in anything other than a negative light. Counter-arguments like The Conscience of a Hacker (Hacker’s Manifesto) didn’t reach remotely the same audiences: and even if they had, the points they made remain hard to sympathise with for those outside of hacker communities.

"Glider" Hacker Emblem
‘Nuff said.

A lack of understanding about what hackers did and what motivated them made them seem mysterious and otherworldly. People came to make the same assumptions about hackers that they do about magicians – that their abilities are the result of being privy to tightly-guarded knowledge rather than years of practice – and this elevated them to a mythical level of threat. By the time that Kevin Mitnick was jailed in the mid-1990s, prosecutors were able to successfully persuade a judge that this “most dangerous hacker in the world” must be kept in solitary confinement and with no access to telephones to ensure that he couldn’t, for example, “start a nuclear war by whistling into a pay phone”. Yes, really.

Four hands on one keyboard, from CSI: Cyber
Whistling into a phone to start a nuclear war? That makes CSI: Cyber seem realistic [watch].

The Future

Every decade’s hackers have debated whether or not the next decade’s have correctly interpreted their idea of “hacker ethics”. For me, Steven Levy’s tenets encompass them best:

  1. Access to computers – and anything which might teach you something about the way the world works – should be unlimited and total.
  2. All information should be free.
  3. Mistrust authority – promote decentralization.
  4. Hackers should be judged by their hacking, not bogus criteria such as degrees, age, race, or position.
  5. You can create art and beauty on a computer.
  6. Computers can change your life for the better.

Given these concepts as representative of hacker ethics, I’m convinced that hacking remains alive and well today. Hackers continue to be responsible for many of the coolest and most-important innovations in computing, and are likely to continue to do so. Unlike many other sciences, where progress over the ages has gradually pushed innovators away from backrooms and garages and into labs to take advantage of increasingly-precise generations of equipment, the tools of computer science are increasingly available to individuals. More than ever before, bedroom-based hackers are able to get started on their journey with nothing more than a basic laptop or desktop computer and a stack of freely-available open-source software and documentation. That progress may be threatened by the growth in popularity of easy-to-use (but highly locked-down) tablets and smartphones, but the barrier to entry is still low enough that most people can pass it, and the new generation of ultra-lightweight computers like the Raspberry Pi are doing their part to inspire the next generation of hackers, too.

That said, and as much as I personally love and identify with the term “hacker”, the hacker community has never been less in-need of this overarching label. The diverse variety of types of technologist nowadays coupled with the infiltration of pop culture by geek culture has inevitably diluted only to be replaced with a multitude of others each describing a narrow but understandable part of the hacker mindset. You can describe yourself today as a coder, gamer, maker, biohacker, upcycler, cracker, blogger, reverse-engineer, social engineer, unconferencer, or one of dozens of other terms that more-specifically ties you to your community. You’ll be understood and you’ll be elegantly sidestepping the implications of criminality associated with the word “hacker”.

The original meaning of “hacker” has also been soiled from within its community: its biggest and perhaps most-famous advocate‘s insistence upon linguistic prescriptivism came under fire just this year after he pushed for a dogmatic interpretation of the term “sexual assault” in spite of a victim’s experience. This seems to be absolutely representative of his general attitudes towards sex, consent, women, and appropriate professional relationships. Perhaps distancing ourselves from the old definition of the word “hacker” can go hand-in-hand with distancing ourselves from some of the toxicity in the field of computer science?

(I’m aware that I linked at the top of this blog post to the venerable but also-problematic Eric S. Raymond; if anybody can suggest an equivalent resource by another author I’d love to swap out the link.)

Verdict: The word “hacker” has become so broad in scope that we’ll never be able to rein it back in. It’s tainted by its associations with both criminality, on one side, and unpleasant individuals on the other, and it’s time to accept that the popular contemporary meaning has won. Let’s find new words to define ourselves, instead.

Right, stop that! It's too silly.× Venn-Euler-style diagram showing crackers as a subset of security hackers, who in turn are a subset of hackers. Script kiddies are a group of their own, off to the side where nobody has to talk to them (this is probably for the best).× Getty Images search for "Hacker".× "Hacker" Dan Q×

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Evolving Computer Words: “GIF”

This is part of a series of posts on computer terminology whose popular meaning – determined by surveying my friends – has significantly diverged from its original/technical one. Read more evolving words…

The language we use is always changing, like how the word “cute” was originally a truncation of the word “acute”, which you’d use to describe somebody who was sharp-witted, as in “don’t get cute with me”. Nowadays, we use it when describing adorable things, like the subject of this GIF:

[Animated GIF] Puppy flumps onto a human.
Cute, but not acute.
But hang on a minute: that’s another word that’s changed meaning: GIF. Want to see how?

GIF

What people think it means

File format (or the files themselves) designed for animations and transparency. Or: any animation without sound.

What it originally meant

File format designed for efficient colour images. Animation was secondary; transparency was an afterthought.

The Past

Back in the 1980s cyberspace was in its infancy. Sir Tim hadn’t yet dreamed up the Web, and the Internet wasn’t something that most people could connect to, and bulletin board systems (BBSes) – dial-up services, often local or regional, sometimes connected to one another in one of a variety of ways – dominated the scene. Larger services like CompuServe acted a little like huge BBSes but with dial-up nodes in multiple countries, helping to bridge the international gaps and provide a lower learning curve than the smaller boards (albeit for a hefty monthly fee in addition to the costs of the calls). These services would later go on to double as, and eventually become exclusively, Internet Service Providers, but for the time being they were a force unto themselves.

CompuServe ad circa 1983
My favourite bit of this 1983 magazine ad for CompuServe is the fact that it claims a trademark on the word “email”. They didn’t try very hard to cling on to that claim, unlike their controversial patent on the GIF format…

In 1987, CompuServe were about to start rolling out colour graphics as a new feature, but needed a new graphics format to support that. Their engineer Steve Wilhite had the idea for a bitmap image format backed by LZW compression and called it GIF, for Graphics Interchange Format. Each image could be composed of multiple frames each having up to 256 distinct colours (hence the common mistaken belief that a GIF can only have 256 colours). The nature of the palette system and compression algorithm made GIF a particularly efficient format for (still) images with solid contiguous blocks of colour, like logos and diagrams, but generally underperformed against cosine-transfer-based algorithms like JPEG/JFIF for images with gradients (like most photos).

GIF with more than 256 colours.
This animated GIF (of course) shows how it’s possible to have more than 256 colours in a GIF by separating it into multiple non-temporal frames.

GIF would go on to become most famous for two things, neither of which it was capable of upon its initial release: binary transparency (having “see through” bits, which made it an excellent choice for use on Web pages with background images or non-static background colours; these would become popular in the mid-1990s) and animation. Animation involves adding a series of frames which overlay one another in sequence: extensions to the format in 1989 allowed the creator to specify the duration of each frame, making the feature useful (prior to this, they would be displayed as fast as they could be downloaded and interpreted!). In 1995, Netscape added a custom extension to GIF to allow them to loop (either a specified number of times or indefinitely) and this proved so popular that virtually all other software followed suit, but it’s worth noting that “looping” GIFs have never been part of the official standard!

Hex editor view of a GIF file's metadata section, showing Netscape headers.
Open almost any animated GIF file in a hex editor and you’ll see the word NETSCAPE2.0; evidence of Netscape’s role in making animated GIFs what they are today.

Compatibility was an issue. For a period during the mid-nineties it was quite possible that among the visitors to your website there would be a mixture of:

  1. people who wouldn’t see your GIFs at all, owing to browser, bandwidth, preference, or accessibility limitations,
  2. people who would only see the first frame of your animated GIFs, because their browser didn’t support animation,
  3. people who would see your animation play once, because their browser didn’t support looping, and
  4. people who would see your GIFs as you intended, fully looping

This made it hard to depend upon GIFs without carefully considering their use. But people still did, and they just stuck a Netscape Now button on to warn people, as if that made up for it. All of this has happened before, etc.

In any case: as better, newer standards like PNG came to dominate the Web’s need for lossless static (optionally transparent) image transmission, the only thing GIFs remained good for was animation. Standards like APNG/MNG failed to get off the ground, and so GIFs remained the dominant animated-image standard. As Internet connections became faster and faster in the 2000s, they experienced a resurgence in popularity. The Web didn’t yet have the <video> element and so embedding videos on pages required a mixture of at least two of <object>, <embed>, Flash, and black magic… but animated GIFs just worked and soon appeared everywhere.

Magic.
How animation online really works.

The Future

Nowadays, when people talk about GIFs, they often don’t actually mean GIFs! If you see a GIF on Giphy or WhatsApp, you’re probably actually seeing an MPEG-4 video file with no audio track! Now that Web video is widely-supported, service providers know that they can save on bandwidth by delivering you actual videos even when you expect a GIF. More than ever before, GIF has become a byword for short, often-looping Internet animations without sound… even though that’s got little to do with the underlying file format that the name implies.

What's a web page? Something ducks walk on?
What’s a web page? What’s anything?

Verdict: We still can’t agree on whether to pronounce it with a soft-G (“jif”), as Wilhite intended, or with a hard-G, as any sane person would, but it seems that GIFs are here to stay in name even if not in form. And that’s okay. I guess.

[Animated GIF] Puppy flumps onto a human.× CompuServe ad circa 1983× GIF with more than 256 colours.× Hex editor view of a GIF file's metadata section, showing Netscape headers.× Magic.× What's a web page? Something ducks walk on?×

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Evolving Computer Words: “Broadband”

This is part of a series of posts on computer terminology whose popular meaning – determined by surveying my friends – has significantly diverged from its original/technical one. Read more evolving words…

Until the 17th century, to “fathom” something was to embrace it. Nowadays, it’s more likely to refer to your understanding of something in depth. The migration came via the similarly-named imperial unit of measurement, which was originally defined as the span of a man’s outstretched arms, so you can understand how we got from one to the other. But you know what I can’t fathom? Broadband.

Woman hugging a dalmatian. Photo by Daria Shevtsova from Pexels.
I can’t fathom dalmatians. But this woman can.

Broadband Internet access has become almost ubiquitous over the last decade and a half, but ask people to define “broadband” and they have a very specific idea about what it means. It’s not the technical definition, and this re-invention of the word can cause problems.

Broadband

What people think it means

High-speed, always-on Internet access.

What it originally meant

Communications channel capable of multiple different traffic types simultaneously.

The Past

Throughout the 19th century, optical (semaphore) telegraph networks gave way to the new-fangled electrical telegraph, which not only worked regardless of the weather but resulted in significantly faster transmission. “Faster” here means two distinct things: latency – how long it takes a message to reach its destination, and bandwidth – how much information can be transmitted at once. If you’re having difficulty understanding the difference, consider this: a man on a horse might be faster than a telegraph if the size of the message is big enough because a backpack full of scrolls has greater bandwidth than a Morse code pedal, but the latency of an electrical wire beats land transport every time. Or as Andrew S. Tanenbaum famously put it: Never underestimate the bandwidth of a station wagon full of tapes hurtling down the highway.

Telephone-to-heliograph conversion circa 1912.
There were transitional periods. This man, photographed in 1912, is relaying a telephone message into a heliograph. I’m not sure what message he’s transmitting, but I’m guessing it ends with a hashtag.

Telegraph companies were keen to be able to increase their bandwidth – that is, to get more messages on the wire – and this was achieved by multiplexing. The simplest approach, time-division multiplexing, involves messages (or parts of messages) “taking turns”, and doesn’t actually increase bandwidth at all: although it does improve the perception of speed by giving recipients the start of their messages early on. A variety of other multiplexing techniques were (and continue to be) explored, but the one that’s most-interesting to us right now was called acoustic telegraphy: today, we’d call it frequency-division multiplexing.

What if, asked folks-you’ll-have-heard-of like Thomas Edison and Alexander Graham Bell, we were to send telegraph messages down the line at different frequencies. Some beeps and bips would be high tones, and some would be low tones, and a machine at the receiving end could separate them out again (so long as you chose your frequencies carefully, to avoid harmonic distortion). As might be clear from the names I dropped earlier, this approach – sending sound down a telegraph wire – ultimately led to the invention of the telephone. Hurrah, I’m sure they all immediately called one another to say, our efforts to create a higher-bandwidth medium for telegrams has accidentally resulted in a lower-bandwidth (but more-convenient!) way for people to communicate. Job’s a good ‘un.

Electro-acoustic telegraph "tuning fork".
If this part of Edison’s 1878 patent looks like a tuning fork, that’s not a coincidence. These early multiplexers made distinct humming sounds as they operated, owing to the movement of the synchronised forks within.

Most electronic communications systems that have ever existed have been narrowband: they’ve been capable of only a single kind of transmission at a time. Even if you’re multiplexing a dozen different frequencies to carry a dozen different telegraph messages at once, you’re still only transmitting telegraph messages. For the most part, that’s fine: we’re pretty clever and we can find workarounds when we need them. For example, when we started wanting to be able to send data to one another (because computers are cool now) over telephone wires (which are conveniently everywhere), we did so by teaching our computers to make sounds and understand one another’s sounds. If you’re old enough to have heard a fax machine call a landline or, better yet used a dial-up modem, you know what I’m talking about.

As the Internet became more and more critical to business and home life, and the limitations (of bandwidth and convenience) of dial-up access became increasingly questionable, a better solution was needed. Bringing broadband to Internet access was necessary, but the technologies involved weren’t revolutionary: they were just the result of the application of a little imagination.

Dawson can't use the Internet because someone's on the phone.
I’ve felt your pain, Dawson. I’ve felt your pain.

We’d seen this kind of imagination before. Consider teletext, for example (for those of you too young to remember teletext, it was a standard for browsing pages of text and simple graphics using an 70s-90s analogue television), which is – strictly speaking – a broadband technology. Teletext works by embedding pages of digital data, encoded in an analogue stream, in the otherwise-“wasted” space in-between frames of broadcast video. When you told your television to show you a particular page, either by entering its three-digit number or by following one of four colour-coded hyperlinks, your television would wait until the page you were looking for came around again in the broadcast stream, decode it, and show it to you.

Teletext was, fundamentally, broadband. In addition to carrying television pictures and audio, the same radio wave was being used to transmit text: not pictures of text, but encoded characters. Analogue subtitles (which used basically the same technology): also broadband. Broadband doesn’t have to mean “Internet access”, and indeed for much of its history, it hasn’t.

Ceefax news article from 29 October 1988, about a cancelled Soviet shuttle launch.
My family started getting our news via broadband in about 1985. Not broadband Internet, but broadband nonetheless.

Here in the UK, ISDN (from 1988!) and later ADSL would be the first widespread technologies to provide broadband data connections over the copper wires simultaneously used to carry telephone calls. ADSL does this in basically the same way as Edison and Bell’s acoustic telegraphy: a portion of the available frequencies (usually the first 4MHz) is reserved for telephone calls, followed by a no-mans-land band, followed by two frequency bands of different sizes (hence the asymmetry: the A in ADSL) for up- and downstream data. This, at last, allowed true “broadband Internet”.

But was it fast? Well, relative to dial-up, certainly… but the essential nature of broadband technologies is that they share the bandwidth with other services. A connection that doesn’t have to share will always have more bandwidth, all other things being equal! Leased lines, despite technically being a narrowband technology, necessarily outperform broadband connections having the same total bandwidth because they don’t have to share it with other services. And don’t forget that not all speed is created equal: satellite Internet access is a narrowband technology with excellent bandwidth… but sometimes-problematic latency issues!

ADSL microfilter
Did you have one of these tucked behind your naughties router? This box filtered out the data from the telephone frequencies, helping to ensure that you can neither hear the pops and clicks of your ADSL connection nor interfere with it by shouting.

Equating the word “broadband” with speed is based on a consumer-centric misunderstanding about what broadband is, because it’s necessarily true that if your home “broadband” weren’t configured to be able to support old-fashioned telephone calls, it’d be (a) (slightly) faster, and (b) not-broadband.

The Future

But does the word that people use to refer to their high-speed Internet connection matter. More than you’d think: various countries around the world have begun to make legal definitions of the word “broadband” based not on the technical meaning but on the populist one, and it’s becoming a source of friction. In the USA, the FCC variously defines broadband as having a minimum download speed of 10Mbps or 25Mbps, among other characteristics (they seem to use the former when protecting consumer rights and the latter when reporting on penetration, and you can read into that what you will). In the UK, Ofcom‘s regulations differentiate between “decent” (yes, that’s really the word they use) and “superfast” broadband at 10Mbps and 24Mbps download speeds, respectively, while the Scottish and Welsh governments as well as the EU say it must be 30Mbps to be “superfast broadband”.

Faster, Harder, Scooter music video.
At full-tilt, going from 10Mbps to 24Mbps means taking only 4 seconds, rather than 11 seconds, to download the music video to Faster! Harder! Scooter!

I’m all in favour of regulation that protects consumers and makes it easier for them to compare products. It’s a little messy that definitions vary so widely on what different speeds mean, but that’s not the biggest problem. I don’t even mind that these agencies have all given themselves very little breathing room for the future: where do you go after “superfast”? Ultrafast (actually, that’s exactly where we go)? Megafast? Ludicrous speed?

What I mind is the redefining of a useful term to differentiate whether a connection is shared with other services or not to be tied to a completely independent characteristic of that connection. It’d have been simple for the FCC, for example, to have defined e.g. “full-speed broadband” as providing a particular bandwidth.

Verdict: It’s not a big deal; I should just chill out. I’m probably going to have to throw in the towel anyway on this one and join the masses in calling all high-speed Internet connections “broadband” and not using that word for all slower and non-Internet connections, regardless of how they’re set up.

Woman hugging a dalmatian. Photo by Daria Shevtsova from Pexels.× Telephone-to-heliograph conversion circa 1912.× Dawson can't use the Internet because someone's on the phone.× Ceefax news article from 29 October 1988, about a cancelled Soviet shuttle launch.× Faster, Harder, Scooter music video.×

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Evolving Computer Words: “Virus”

This is part of a series of posts on computer terminology whose popular meaning – determined by surveying my friends – has significantly diverged from its original/technical one. Read more evolving words…

A few hundred years ago, the words “awesome” and “awful” were synonyms. From their roots, you can see why: they mean “tending to or causing awe” and “full or or characterised by awe”, respectively. Nowadays, though, they’re opposites, and it’s pretty awesome to see how our language continues to evolve. You know what’s awful, though? Computer viruses. Right?

Man staring intently at laptop. Image courtesy Oladimeji Ajegbile, via Pexels.
“Oh no! A virus has stolen all my selfies and uploaded them to a stock photos site!”

You know what I mean by a virus, right? A malicious computer program bent on causing destruction, spying on your online activity, encrypting your files and ransoming them back to you, showing you unwanted ads, etc… but hang on: that’s not right at all…

Virus

What people think it means

Malicious or unwanted computer software designed to cause trouble/commit crimes.

What it originally meant

Computer software that hides its code inside programs and, when they’re run, copies itself into other programs.

The Past

Only a hundred and thirty years ago it was still widely believed that “bad air” was the principal cause of disease. The idea that tiny germs could be the cause of infection was only just beginning to take hold. It was in this environment that the excellent scientist Ernest Hankin travelled around India studying outbreaks of disease and promoting germ theory by demonstrating that boiling water prevented cholera by killing the (newly-discovered) vibrio cholerae bacterium. But his most-important discovery was that water from a certain part of the Ganges seemed to be naturally inviable as a home for vibrio cholerae… and that boiling this water removed this superpower, allowing the special water to begin to once again culture the bacterium.

Hankin correctly theorised that there was something in that water that preyed upon vibrio cholerae; something too small to see with a microscope. In doing so, he was probably the first person to identify what we now call a bacteriophage: the most common kind of virus. Bacteriophages were briefly seen as exciting for their medical potential. But then in the 1940s antibiotics, which were seen as far more-convenient, began to be manufactured in bulk, and we stopped seriously looking at “phage therapy” (interestingly, phages are seeing a bit of a resurgence as antibiotic resistance becomes increasingly problematic).

Electron microscope image of a bacteriophage alongside an illustration of the same.
It took until the development of the scanning electron microscope in the mid-20th century before we’d actually “see” a virus.

But the important discovery kicked-off by the early observations of Hankin and others was that viruses exist. Later, researchers would discover how these viruses work1: they inject their genetic material into cells, and this injected “code” supplants the unfortunate cell’s usual processes. The cell is “reprogrammed” – sometimes after a dormant period – to churns out more of the virus, becoming a “virus factory”.

Let’s switch to computer science. Legendary mathematician John von Neumann, fresh from showing off his expertise in calculating how shaped charges should be used to build the first atomic bombs, invented the new field of cellular autonoma. Cellular autonoma are computationally-logical, independent entities that exhibit complex behaviour through their interactions, but if you’ve come across them before now it’s probably because you played Conway’s Game of Life, which made the concept popular decades after their invention. Von Neumann was very interested in how ideas from biology could be applied to computer science, and is credited with being the first person to come up with the idea of a self-replicating computer program which would write-out its own instructions to other parts of memory to be executed later: the concept of the first computer virus.

Glider factory breeder in Conway's Game of Life
This is a glider factory… factory. I remember the first time I saw this pattern, in the 1980s, and it sank in for me that cellular autonoma must logically be capable of any arbitrary level of complexity. I never built a factory-factory-factory, but I’ll bet that others have.

Retroactively-written lists of early computer viruses often identify 1971’s Creeper as the first computer virus: it was a program which, when run, moved (later copied) itself to another computer on the network and showed the message “I’m the creeper: catch me if you can”. It was swiftly followed by a similar program, Reaper, which replicated in a similar way but instead of displaying a message attempted to delete any copies of Creeper that it found. However, Creeper and Reaper weren’t described as viruses at the time and would be more-accurately termed worms nowadays: self-replicating network programs that don’t inject their code into other programs. An interesting thing to note about them, though, is that – contrary to popular conception of a “virus” – neither intended to cause any harm: Creeper‘s entire payload was a relatively-harmless message, and Reaper actually tried to do good by removing presumed-unwanted software.

Another early example that appears in so-called “virus timelines” came in 1975. ANIMAL presented as a twenty questions-style guessing game. But while the user played it would try to copy itself into another user’s directory, spreading itself (we didn’t really do directory permissions back then). Again, this wasn’t really a “virus” but would be better termed a trojan: a program which pretends to be something that it’s not.

Replica Trojan horse.
“Malware? Me? No siree… nothing here but this big executable horse.”

It took until 1983 before Fred Cooper gave us a modern definition of a computer virus, one which – ignoring usage by laypeople – stands to this day:

A program which can ‘infect’ other programs by modifying them to include a possibly evolved copy of itself… every program that gets infected may also act as a virus and thus the infection grows.

This definition helps distinguish between merely self-replicating programs like those seen before and a new, theoretical class of programs that would modify host programs such that – typically in addition to the host programs’ normal behaviour – further programs would be similarly modified. Not content with leaving this as a theoretical, Cooper wrote the first “true” computer virus to demonstrate his work (it was never released into the wild): he also managed to prove that there can be no such thing as perfect virus detection.

(Quick side-note: I’m sure we’re all on the same page about the evolution of language here, but for the love of god don’t say viri. Certainly don’t say virii. The correct plural is clearly viruses. The Latin root virus is a mass noun and so has no plural, unlike e.g. fungus/fungi, and so its adoption into a count-noun in English represents the creation of a new word which should therefore, without a precedent to the contrary, favour English pluralisation rules. A parallel would be bonus, which shares virus‘s linguistic path, word ending, and countability-in-Latin: you wouldn’t say “there were end-of-year boni for everybody in my department”, would you? No. So don’t say viri either.)

(Inaccurate) slide describing viruses as programs that damage computers or files.
No, no, no, no, no. The only wholly-accurate part of this definition is the word “program”.

Viruses came into their own as computers became standardised and commonplace and as communication between them (either by removable media or network/dial-up connections) and Cooper’s theoretical concepts became very much real. In 1986, The Virdim method brought infectious viruses to the DOS platform, opening up virus writers’ access to much of the rapidly growing business and home computer markets.

The Virdim method has two parts: (a) appending the viral code to the end of the program to be infected, and (b) injecting early into the program a call to the appended code. This exploits the typical layout of most DOS executable files and ensures that the viral code is run first, as an infected program loads, and the virus can spread rapidly through a system. The appearance of this method at a time when hard drives were uncommon and so many programs would be run from floppy disks (which could be easily passed around between users) enabled this kind of virus to spread rapidly.

For the most part, early viruses were not malicious. They usually only caused harm as a side-effect (as we’ve already seen, some – like Reaper – were intended to be not just benign but benevolent). For example, programs might run slower if they’re also busy adding viral code to other programs, or a badly-implemented virus might even cause software to crash. But it didn’t take long before viruses started to be used for malicious purposes – pranks, adware, spyware, data ransom, etc. – as well as to carry political messages or to conduct cyberwarfare.

XKCD 1180: Virus Venn Diagram
XKCD already explained all of this in far fewer words and a diagram.

The Future

Nowadays, though, viruses are becoming less-common. Wait, what?

Yup, you heard me right: new viruses aren’t being produced at remotely the same kind of rate as they were even in the 1990s. And it’s not that they’re easier for security software to catch and quarantine; if anything, they’re less-detectable as more and more different types of file are nominally “executable” on a typical computer, and widespread access to powerful cryptography has made it easier than ever for a virus to hide itself in the increasingly-sprawling binaries that litter modern computers.

"Security" button
Soo… I click this and all the viruses go away, right? Why didn’t we do this sooner?

The single biggest reason that virus writing is on the decline is, in my opinion, that writing something as complex as a a virus is longer a necessary step to illicitly getting your program onto other people’s computers2! Nowadays, it’s far easier to write a trojan (e.g. a fake Flash update, dodgy spam attachment, browser toolbar, or a viral free game) and trick people into running it… or else to write a worm that exploits some weakness in an open network interface. Or, in a recent twist, to just add your code to a popular library and let overworked software engineers include it in their projects for you. Modern operating systems make it easy to have your malware run every time they boot and it’ll quickly get lost amongst the noise of all the other (hopefully-legitimate) programs running alongside it.

In short: there’s simply no need to have your code hide itself inside somebody else’s compiled program any more. Users will run your software anyway, and you often don’t even have to work very hard to trick them into doing so.

Verdict: Let’s promote use of the word “malware” instead of “virus” for popular use. It’s more technically-accurate in the vast majority of cases, and it’s actually a more-useful term too.

Footnotes

1 Actually, not all viruses work this way. (Biological) viruses are, it turns out, really really complicated and we’re only just beginning to understand them. Computer viruses, though, we’ve got a solid understanding of.

2 There are other reasons, such as the increase in use of cryptographically-signed binaries, protected memory space/”execute bits”, and so on, but the trend away from traditional viruses and towards trojans for delivery of malicious payloads began long before these features became commonplace.

Man staring intently at laptop. Image courtesy Oladimeji Ajegbile, via Pexels.× Electron microscope image of a bacteriophage alongside an illustration of the same.× Glider factory breeder in Conway's Game of Life× Replica Trojan horse.× (Inaccurate) slide describing viruses as programs that damage computers or files.× "Security" button×

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Ancient Roman ‘Pen’ Was a Joke Souvenir

This article is a repost promoting content originally published elsewhere. See more things Dan's reposted.

Ancient Roman stylus

The tradition of buying cheap, joke souvenirs for your loved ones while travelling dates back at least two millennia.

During an archaeological excavation at a Roman-era site in London, researchers found around 200 iron styluses used for writing on wax-filled wooden tablets. One of those styluses, which just debuted in its first public exhibition, holds a message written in tiny lettering along its sides. The inscription’s sentiment, according to the researchers who translated it, is essentially, “I went to Rome and all I got you was this pen.”

…

Also found in this excavation, I assume, were t-shirts printed with “I ❤ Pompeii” and moneyboxes in the shape of the Parthenon.

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