Don’t use Ellipses in menu items; the HIG are out of date

I’m going to assert that the human interface guidelines on this subject are outdated. For this, I need to go into some depth first. If you’re just interested in when to use it, I make my recommendation at the bottom.

  1. The history
  2. The problems
  3. When to use ellipses today?

The history

This is an ancient convention among OS HIGs regarding the use of ellipses in menu items. In essence, it works as thus:

  1. If you click an action in the menu, it immediately does something
  2. If you click an action in a menu that has a … at the end, it first asks you something (in a dialog box).

Details for different HIGs can be found on Stackoverflow, strangely enough. I find this section particularly interesting:

The visual cue offered by an ellipsis allows users to explore your software without fear.

Fear. That’s not a word I want to see anywhere near my UX evaluation form. And visual cue? It’s only slightly larger than the smallest possible symbol.

So I dug around a bit – it’s present since the very first iterations of Windows and macOS, as well as some DOS versions, during which time it actually had some affordance thanks to monospacedness:

Windows 1.04

Notably, this is a decade before “User Experience” as a term was coined. During this time, using computers indeed was scary: “one wrong keypress and everything disappears” was a thing back then.

However, ellipses didn’t actually prevent you from making a wrong keypress, but they did provide a mostly consistent way of distinguishing actions which make everything disappear immediately from actions which first show a dialog (which you can escape from) before everything disappears once you knew about this. So either you learned this pattern (which isn’t super obvious), or it does nothing for you – but gives ample opportunity for others to tell you to RTFM.

Fast forward some 40 years and computers now have variable fonts and smaller pixels (and many more of them) and ellipses have become so tiny, they’re very easy to overlook. They have been carried forward from edition to edition of the relevant HIG, but I highly doubt they’ve been reconsidered. Meanwhile, in the wild west that is the web, nobody knew about these rules, nor did anyone care, so it’s rarely seen in the web, and when website building gave way to modern webdev and mobile apps, it got completely lost here. Instead, the ellipsis has found it’s way into overflow menus everywhere, replacing the hamburger menu in some cases.

Even on Apple’s very own HIG page, this example is shown in the context of iOS:

context menu

Just like “Save as…” needs additional input so it knows where and as what to save, “Share” needs additional input before things before it can know whom to share it to. But it’s been forgotten.

Which brings us to today, where in practice this guideline is ignored when building apps.

The problems

As said earlier, the ellipses are barely visible today and don’t really offer any affordance to most people.

Additionally, the ellipses model doesn’t account for the humble Save menu option: On first use it requires you to specify where and as what to save it, on second use it is an immediate action.

There also is the question if it actually makes things easier to understand. Take one half of Audacity’s Effects menu, for example:

Audacity menu

Outside of the absolutely overwhelming number of options (which, as an aside, I since have ordered into subcategories), you can see an overwhelming number of ellipses here, which don’t really serve anyone.

Remember, one of the stated purposes of using it is “users can explore the app without fear”. But what does a user expect when they go to this menu? Well, they want to apply an effect. Whether the effect they choose shows a bunch of sliders or not isn’t massively relevant here, it’s entirely predictable to the user what’s going to happen (an effect gets applied to the audio) and what to do if they accidentally apply an effect they don’t want (undo). There is no fear here, the ellipses are unnecessary.

Additionally, the plugin manager option used to be called “Add/Remove Plugin…”. I removed any ambiguity here on whether it’s an instant action or something that opens a dialog by renaming it to “Plugin Manager”. It’s a manager, it’s never going to be anything but some sort of dialog. Having a … here is unnecessary, because users will never be confused as to what it does.


If you still are on the fence whether ellipses actually solve a problem, consider this example:

We have two print options right next to each other. Our guidelines say this is fine; the Print option is an action and works without any settings (presumably printing one page from the default printer), while the Print… option summons some sort of dialog which lets you choose printers before it does something.

Does this look any intuitive whatsoever to you? To me it doesn’t, at all. This may be fixable by making it less ambiguous (“Print now using default printer” vs “Print setup” or something), but as it stands, it’s just a duplicated option and you’ll never know which one to click.

Especially when you’re not wearing glasses.


When to use ellipses today?

With all of the above in mind, I’d say the new guidelines should be as follows:

  1. Use ellipses in menu items when the text itself is incomplete. So for example, “Save as…” would retain the ellipsis, while “Save Copy”, “Create Backup” or just “Save” would not have one.
  2. When naming menu items, name them clearly and unambiguously. For example, an option simply titled “Overwrite” on it’s own is ambiguous as to what is being overwritten. Adding this information makes it much more clear: “Overwrite my_holiday_photo.jpg”. In the example above, “Add/Remove Plugins…” is ambiguous, “Plugin Manager” is not.
  3. Use ellipses in cases where not doing so would confuse users. There’s no point going “but the guideline says” when your users are getting significantly confused by what you’re doing. This is universally true in design.
  4. Avoid using ellipses in all other cases.

Medienhäuser, eure Online-Werbung!

Kurze Frage: Sieht das hier nach Werbung aus, die einem seriösen Medienhaus würdig ist?

Natürlich nicht. Dieser Quatsch kommt von Werbenetzwerken, die behaupten, sie könnten “Native Advertising” betreiben, aber tatsächlich ist deren “Native Advertising” eher ein wilder Mix aus Betrügern und dummen Inhalten.

  1. Die Werbungen im Detail
    1. RAID: Sexy Legends
    2. Schwindel mit Schwindlern
    3. Geraune mit Versicherungen
    4. Alufolie um Kopf und Türgriff
  2. Seriöse Werbenetzwerke für seriöse Angebote?
  3. Kurze Frage an die Medienhäuser und Redaktionen

Die Werbungen im Detail

RAID: Sexy Legends

Die hübschen Frauen sind vielleicht aus irgendeinem Spiel (wahrscheilich: bei ersterer ist eine Skyrim-mod, bei zweiterem ein KI-Bildgenerator), aber auf jeden Fall nicht aus RAID. Und nein, RAID ist auch nicht das realistischste Spiel des Jahres 2023, denn es ist weder super realistisch…

…noch ist es aus dem Jahr 2023 (sondern 2018).

Gleiches gilt nebenbei für Forge of Empires, das “beste Strategiespiel aller Zeiten”, was tatsächlich in 2012 und 2013 in ein paar eher unbedeutenden Awardzeremonien nominiert wurde und eine noch unbedeutendere gewonnen hat.

Aber zurück zu RAID. Wenn man die Werbung klickt, bekommt man eine volle Ladung Porn-bait

Egal, welche Optionen gewählt werden, der Fragenkatalog rattert seine 8 Schritte durch und dann landen wir auch schon bei RAID – nur diesmal mit dem Vorwissen, dass wir bis Level 10 spielen müssen, bevor die “versteckten” “18+”-Inhalte kommen, die die “volle Aufmerksamkeit” verlangen.

Schwindel mit Schwindlern

Gucken wir uns als nächstes unseren dreifachen Heiligen an, der gerade einen Level99-Engel heraufbeschwört oder so.

Wenn wir uns den anklicken, landen wir auf “Ratgeber der Gesundheit”. Das “Magazin” hat genau 5 “Artikel”, die alle der dünnste vorstellbare Inhalt sind: “33 Lebensmittel für bessere Abwehrkräfte” sind 33 Lebensmittelnamen ohne nähere Erläuterung, gefolgt von einer Liste von Vitaminen, ebenfalls ohne nähere Erläuterung, gefolgt von der Standard-Zufuhr-Tabelle – das ist alles. Und auf dieser unglaublich dünnen Seite steht ein Klopper von Advertorial über irgend ‘ne Medizin gegen Schwindel:

Aus diesem Advertorial (und der mehrfach verlinkten Shopseite) geht eine Sache nicht hervor. Zwar wird Naturheilkunde, Heilpflanze, Arzneimittel alles mehrfach erwähnt, aber das eigentlich Wichtige steht klein und nicht lesbar ganz unten – mit einem Kontrast von 2.75:1, was bei schlechteren Augen und/oder Bildschirmen eher wie Schneemann im Schneesturm aussieht. Darum hier noch mal ganz groß:

Das Angebot ist kein Ersatz für Medikamente oder andere Behandlungen, die von einem Arzt oder Gesundheitsdienstleister verschrieben werden.

Dieses Produkt ist nicht dazu bestimmt, Krankheiten zu diagnostizieren, zu behandeln, zu heilen oder zu verhindern.

Wirkstoffe: Anamirta cocculus Dil. D4, Gelsemium sempervirens Dil. D5. [Produkt] wird angewendet entsprechend dem homöopathischen Arzneimittelbild

Es ist also Homöopathie, die aber nicht mal den Anstand hat, diesen Fakt offen zuzugeben.

Geraune mit Versicherungen

“Krankenkassen verheimlichen”, “Pflegekassen verheimlichen” – mit diesen Formulierungen wird etwas sehr natürliches (“wer seinen Berater nicht fragt, bekommt auch keine Beratung”) als skandalös dargestellt, und direkt die Lösung präsentiert: Beratung von anderen Versicherungen/Kassen/Anbietern.

Ob die beworbenen Berater was taugen oder nicht, kann ich an dieser Stelle nicht beantworten, zwielichtig ist diese Werbemasche allemal.

Alufolie um Kopf und Türgriff

Wir sind offiziell bei Clickbait-Werbung angekommen. Wenn bei den vorherigen Werbungen zumindest noch irgendwo eine Verbindung zwischen der Werbung und dem, was tatsächlich angeboten wurde (und die Verbindung war schon dünn!), haben wir hier jeglichen Zusammenhang verloren. Die Seite hat 100 Sicherheits-Tipps, jeder Tipp mit 2x Werbung eingebettet, und keiner erwähnt Alufolie! Stattdessen:

  • 1. Ersetzen Sie die Schrauben der Türscharniere durch längere
  • 28. Verwenden Sie immer eine Firewall zum Schutz des Wifi-Netzwerks
  • 81. Geld im Katzenklo verstecken
  • 89. Rutschfeste Badematten für jede Wanne und Dusche kaufen

Da freuen wir uns doch auf die nächsten Artikel des Seite:

Diese Contentschleudern verkaufen nix, aber sie bieten unendlich Werbefläche. Will heißen, was auch immer an Werbegeld an den Spiegel oder die Zeit rausgeht, kommt vielfach wieder rein durch die Menge an Werbung auf der Contentschleuder selbst.

Seriöse Werbenetzwerke für seriöse Angebote?

Die müllspuckenden Werbenetzwerke sind hier vor allem Outbrain und Taboola. Das soll nicht heißen, dass die anderen Netzwerke irgendwie großartig besser sind – Google Ads verbreitet Malware seit Dezember, und das haben sie anscheinened immer noch nicht in den Griff bekommen. Google und Facebook stehlen dazu auch noch Geld von sowohl Werbetreibenden als auch Medienhäusern.

Outbrain behauptet zwar, diverse Dinge nicht zuzulassen, in der Praxis lohnt es sich für sie aber nicht, zu genau hinzuschauen. Eine Inhaltsplatform, die voller Spam ist, ist ungemütlich für die Menschen, die sie verwenden wollen und der Spam kostet auch noch Hostinggebühren. Ein Werbenetzwerk, das voller Spam ist, macht Geld.

Der Übergang von ordentlicher Werbung zu unlauterer Werbung und Spam ist fließend, doch im Fall von Taboola und Outbrain ist niveaulose Clickbait-Werbung nicht nur im Programm, sondern sogar auf der Startseite vorgestellt:

In anderen Worten, wenn man Werbenetzwerke irgendwie nach aktiv gewollter Qualität der Werbetreibenden sortieren kann, dann sind Outbrain und Taboola irgendwo ganz unten. Selbst TrafficJunky (das ist PornHub’s Werbenetzwerk, bekannt für “Willige Frauen in deiner Nachbarschaft”) sagt nicht so explizit, dass sie Müll in ihrem Netzwerk haben wollen.

Kurze Frage an die Medienhäuser und Redaktionen

Grundsätzlich sollten sich die Medienhäuser jetzt eine Frage zum Native Advertising stellen:

Angenommen, Native Advertising funktioniert, weil die Leute eher redaktionell aussehende Inhalte lesen, und die Glaubwürdigkeit der Publikation die Glaubwürdigkeit der Werbung mit beeinflusst…
heißt das nicht im Umkehrschluss, dass mülliges Native Advertising die Glaubwürdigkeit der Redaktion ruiniert?

YouTuber kennen schon längst diesen Zusammenhang. Wer zu schnell, zu früh und/oder zu oft fragwürdige Sponsorships akzeptiert wird öffentlich von den eigenen Fans geröstet. YouTuber trennen sich oftmals bei den kleinsten Anzeichen von Fehlverhalten der Sponsoren von selbigen, teilweise haben sie ganze Forensektionen dediziert, um ja nichts zu verpassen. YouTuber bauen sich Vertrauen aus dem Nichts auf, das gilt gleichermaßen für einzelne Influencer wie Rezo als auch für größere Produktionen wie Kurzgesagt.

Warum müssen Medienhäuser dann ihre Glaubwürdigkeit mit einfach zu vermeidenden Müll verspielen?

Ich sage: Schaltet algorithmisch ausgespieltes Native Advertising aus. Wenn ihr unbedingt Native Advertising machen wollt, guckt euch zumindest vorher an, wer bei euch so tun darf, als sei er ein “Vorgeschlagener Artikel”. Und wie der Artikel/das Advertorial aussieht. Outbrain hat kein Problem damit, euch “Wundervoll aggressive Windschutzscheibennotizen, die du unbedingt klauen solltest” auf die Hauptseite zu setzen.

Und ihr?

Sunsetting Social Media and the Dawn of Group Chats

We live in a time where apparently Elon Musk and Mark Zuckerberg are running a tight race of who can kill their own social media network faster than Rupert Murdoch did with MySpace and who can lose more money in the process than Yahoo! did with tumblr. Musk and Zuck are being supported in their quest by the unlikliest of partners: Discord, Telegram, Whatsapp and various governments. So what is happening?

Social media is connecting us

Social media – and stop me if you heard this one before – brings us one main benefit: Staying connected with friends, family and classmates, and finding new friends. This benefit very clearly serves a need within all of us, as becomes evident when you attempt to leave a social network: Staying connected becomes much harder and takes lots of effort in 1:1 conversations to keep the connection alive.

Yet, at the same time, social media has become a battleground of attention. It’s a free-for-all between advertisers, influencers and your friends, and your friends are hopelessly outmatched. Facebook is a marketplace competing with ebay, YouTube is competing with TV stations on ad money, and inbetween it all are influencers, opinion leaders and content creators, trying to get their voice heard and their art seen.

And it’s tiring.

Social media is dividing us

This battleground of attention is particularly nasty when it comes to politics. There is no discussion, there never has been. It’s a strawman building contest, the “other side” needs to be vilified, and the most outrageous believable claims are typically the most viral. Social media sites intentionally or unintentionally support this behavior: Enragement = Engagement. And once the villain is constructed, it can be justifiably attacked, either with hate online or with hammers, guns, explosives or incendiaries offline. Throwing soup, cakes and paint suddenly is one of the least worrying outcomes in context.

But remember, the battleground of attention isn’t actually why we are on social media sites! It’s a byproduct of the technical availability of it. It’s a fluke, caused by a product manager many years ago figuring out that by adding a “share publicly” option, social media also can take over the blogosphere.

Social media is dying

During the rise of social media sites, there was nothing which could connect us in just the same way. IRC and email were cumbersome and ill-suited to picture sharing. SMS and MMS got expensive real fast, and the very thought of using mobile data when it wasn’t strictly necessary burnt a hole in our pockets.

This situation has changed. Group chats and communities exist, on Discord, Signal, Telegram, Whatsapp and more, and they help us stay connected with friends, family, classmates and find new friends. Social media is obsolete.

Group chats are the future

Group chats don’t need to participate in the battleground of attention. Should an influencer invade a space and start promoting products, an opinion leader appear and always and exhaustively talk about the same issues, or a new parent share baby pics excessively you can just make a new group chat with everyone you care about, and without this annoying person. The original group chat may grow quieter or die altogether, but at no point did anyone need to interfere, kick someone, or hurt anyone’s feelings.

Group chats also facilitate the one good thing about Google+: social circles. It’s not just possible but naturally occurring that you share stuff with only the people you know will care about it – you ask your question on how to draw perspective in your art group chat, share the news that you just broke up in your close family group chat first, and geek out about model trains in a model train group chat.

To me, the group chat apps of today – especially discord and signal – have completely replaced social media as a way to stay connected. To me, twitter now is assuming the role of YouTube for most intents and purposes: It’s just media now. Media which I passively consume and sometimes create, the battleground of attention.

A battleground that no longer is a source of social connections.

Mastodon is not the solution, but yet another problem

We all know that big tech has a problem, from unfair policies to monopolistic bullying behavior. Back around new year 2018, I finally had enough and made an account on Mastodon – a federalized, not-for-profit-but-for-good kind of Twitter alternative. I’d be a trendsetter, I invited all my friends, some of which joined as well – but very quickly I was back on twitter again, anyway. What happened?

I didn’t know back then, but I think I do now. Part of the problem was the network effect, with just more interesting people being on Twitter than Mastodon, but the other part is what I want to talk about here:

Mastodon has some inherent structural problems.

  • Instances are fragile & exploitable
  • Trust & safety is awful
  • The UX gets sacrificed for band-aid fixes.

Let’s tackle these one by one.

Fragile Instances

Mastodon runs on the idea that there is no central server, but instead a federated bunch of servers owned and operated by random people on the internet (including yourself, if you want to). This “fediverse” is somewhat interoperable, so you can follow and talk to people from other instances. There’s some caveats to this, to which we come later.

“random people on the internet” doesn’t sound trust-inspiring, and this is because it isn’t. A quick scroll to instances.social shows that some 73% of the instances listed have been shut down again. Why? Probably for the same reasons why most personal website projects die: Lost interest, too expensive, too time-consuming to maintain. If you host your own instance this is fine – it’s yet another personal project after all – but if you have users, this is a problem: As a user, I cannot count on my social media profile to still exist tomorrow. This is in stark contrast to any of the more established social media websites and honestly, even the most chaotic of startups, where you generally can count on being told that they’re closing shop a few weeks before the lights go out.

No trust, no safety

Trust & Safety (TnS) is a catch-all term for the teams at websites that write and enforce community guidelines, combat fake news and spam bots, moderation and stuff like that. Since Mastodon is federated, this team often consists of one person: The instance owner.

I have had my fair share of volunteer TnS work over the years, and I can tell you: This stuff is very time- and soul-consuming. The community you run has certain expectations on what content is and isn’t shown on the server and will both yell at you if your rules and enforcement is too strict, and also if someone broke the rules while you were asleep and it was able to stay up for a few hours. For more subject-focused matters it’s often somewhat more forgiving – very few people will show up on a model train subreddit or discord server with the intent to post anything but model trains. But Mastodon generally doesn’t work like this, rather, you, as a user, choose your home instance (possibly the same one your friend uses) and once you have it, you post whatever. And “whatever” ranges from porn to gore to CSAM – child sexual abuse material.

In which case you, as the instance owner, already are in hot water, hosting CSAM will get the cops to your door sooner rather than later. For companies like Facebook and Twitter, this is part of their calculations. They can hire content reviewers and – in theory anyway – take steps to ensure that these people don’t break from constantly watching the worst part of humanity. For a mastodon instance, the best you can do is get volunteer moderators – untrained, unaware how bad it can become – and hope for the best. Or shut down the instance once it becomes unbearable.

Blanket banning

There is a small ray of light for the TnS matter though: Likeminded people tend to be on the same instances. By simply blocking any interactions from an entire instance, an instance owner immediately can get rid of a large chunk of potentially problematic users…. Or the entire country of Japan. The owner of one instance I’m on felt compelled to essentially block all mastodon instances ending in .jp to not have to look at lolicon content – sexual drawings of young girls, something legal in Japan and some other countries, but deeply illegal in many others.

This kind of blanket banning has some degrees of severity – maybe images from these instances won’t be served, maybe posts from these instances won’t be shown unless you follow someone, maybe all interactions are banned. Whatever setting the instance owner chooses, it directly affects the experience of the users, from “I have to leave my timeline to look at this image” to “I actually need to have a second account on another instance to interact with a friend”.

User experiencen’t

Mastodon, being an open source thing, of course comes in many forms and colors. Some instances try to emulate twitter’s (now: old) design, some try to emulate tweetdeck, some instagram, some are non-browser-based standalone apps, and so on. But as far as I can tell, they all have in common that they leak abstractions – especially this be language about “instances” when moving accounts, or usernames being @username@instance.tld. It also doesn’t feature a real search function (if you want random people to find your content, use a hashtag) or a quote-retweet equivalent (because it encourages people yelling at each other). You can’t even just join mastodon, you first have to jump through the hoops of understanding what instances are and then doing even more research to find which one suits you.

In the face of the aforementioned I can understand some of these decisions, sort of. Alas, I don’t think they’re particularly good decisions. There are tools which can be used for TnS in a federated system – shared blocklists, a CSGO-overwatch-like system, and more – which would do a better job than the current systems. Putting UX last is ultimately what made me stop using Mastodon:

  • It’s hard to sign up and get friends to sign up.
  • It’s hard to find interesting things.
  • It’s hard to share interesting things you find and add commentary.
  • And all in all: It’s hard to have fun.

Sport und Gewalt

Ein Gedanke, der mir seit Jahren immer mal wieder im Kopf herumschwirrt, ist folgende Positionierung des Deutschen Olympischen Sportbunds zum Thema eSports:

Eine weitere Entscheidungsgrundlage war der Inhalt der Spiele und die entsprechende Darstellungsform am Bildschirm. In vielen Spielen ist die Vernichtung und Tötung des Gegners das Ziel des Spiels. Insbesondere die deutlich sichtbare und explizite Darstellung des Tötens von virtuellen Gegnern ist mit den ethischen Werten, die wir im Sport vertreten, nicht vereinbar.

https://www.dosb.de/ueber-uns/esport

Ohne da jetzt tief aufzudröseln, ist der Gedanke hier verständlich: Wenn in CS:GO die Terroristen Bomben legen und Kopfschüsse verteilen, ist das eine wesentlich andere Hausnummer als wenn Bayern München einen Luft-und-Gummi-Ball in ein Netz schießt. Allein schon vom Jugendschutzgedanke ist das eine ganz schlechte Idee – und selbst CS:GO-Spieler wollen bestimmt keine Jugendteams voll mit 8- bis 13-Jährigen in ihren Pubs sehen.

Wenn man aber diesen Gedanken ein bisschen weiter verfolgt, öffnet sich schnell eine ethisch komplexe Thematik, nämlich die der Gewaltdarstellung in olympischen Sportarten. Eine ganze Reihe von Sportarten basiert zu großen Teilen auf schwierigen und teilweisen heute verbotenen Praktiken. Zum Beispiel:

  • Fechten ist Form des Duells. Duelle waren bis vor “kurzem” (19. Jh) ein Weg, seine Ehre wiederherzustellen, in dem man den Ehrekränker (also jemand, der dich beleidigt o.ä. hat) auf faire Weise im Duell bekämpfte und ggf. verletzte oder tötete.
  • Diverse Formen des Schießens (Bogenschießen, Pistolenschießen, Biathlon etc.) funktionieren als eine Form der Soldatenausbildung, einzig das Ziel muss durch feindliche Köpfe ausgetauscht werden. Biathlon insbesondere basiert auf der Sportart (?) “Militärpatroullie“, bei der 4 Athleten 30km auf Ski unterwegs waren und auf halber Strecke mit 18 Schuss pro Nase auf Zielscheiben schossen.
  • Der moderne Fünfkampf basiert auf schwedischer Soldatenausbildung. Die Disziplinen Fechten, Pistolenschießen, Schwimmen, fremde Pferde reiten und Laufen repräsentieren ganz gut, was man so erwarten kann, wenn man sich hinter die Feindeslinie gekämpft hat, die Munition ausgegangen ist und man auf geklauten Pferden wieder zurück will.

Natürlich haben Athleten dieser “PvZielscheibe”-Sportarten nie die Absicht oder die Illusion, jemanden zu töten. Und auch in der PvP-Abteilung sind KOs gewünscht und Hirnverletzungen und längerfristige neuropsychiatrische Erkrankungen geduldet, aber getötet werden soll keiner. Gleichzeitig ist eSportlern ebenfalls bewusst, dass der Headshot in CS:GO nicht vergleichbar ist mit der Tötung eines echten Menschen.

Ich könnte an dieser Stelle noch eine ganze Weile weitermachen, mit weiteren Gegenargumenten gegen die DOSB-eSport-Entscheidung, oder einer weiteren Analyse des DOSB Ethik-Codes (der, Überraschung, nichts von Gewaltdarstellungen oder Tötungen erwähnt), aber das alles wäre politische Diskussion.

Viel mehr interessiert mich dieser ganze historische und ethische Komplex von Sport und Gewalt. Warum basieren so viele Spiele und Sportarten auf Gewalt? Auf Grund von Tribalismus? Wenn ja, warum werden diese Sportarten nicht weiter hinterfragt? Wollen wir als Gesellschaft nicht vom Tribalismus weg kommen? Müssen Sportarten hinterfragt werden? Und so weiter.

Ich habe noch keine Antworten auf diese Fragen. Vielleicht gibt es irgendwann einen 2. Teil hierzu, vielleicht inspiriert er Leser:innen zur weiteren Recherche. Ich würde mich auf jeden Fall zu weiteren Infos hierfür freuen.

The Work of Art in the Age of NFTs

Every time I see NFTs in the context of “making digital art unique/owning art”, I have to think of Walter Benjamin’s „The Work of Art in the Age of Mechanical Reproduction” from 1935. TL;DR is you just need to replace „mechanical“ with „digital” and you’re done.

The context for Benjamin’s essay is the rise of photography. Photography had existed for a long time before, but in the early 20th century, it had started to become prevalent everywhere. Photography certainly is an art form on its own, but it’s got one problem:

There isn’t really an „original” photograph you can look at in a museum. If you want to look at it, you first need to make a photoprint. But the process of making just one or 100 is the same. Are they all originals? All copies without an original?

For traditional art, it’s much easier: The original, authentic artwork exists in the „here and now“, in one location and only once. And it has a history (who prayed to it/owned it/how it was used/…). Benjamin calls this “Aura”.

This Aura is what makes you want to go to the Louvre to see the Mona Lisa from very far away. Benjamin compares this Aura to real life: Imagine sitting outside, mountains in the distance, leaves throwing shadows on your face and suddenly a squirrel hushes past you.

Now imagine the same thing in a movie or video game. The mountains are polygons, the squirrel no longer is chance, it’s scripted. Even the most perfect reproduction won’t have an Aura anymore. It may be immersive, but it won’t be authentic.

A manual copy of the Mona Lisa would simply be a fake, it had a much different history. But a mechanical/digital copy is different: It’s somewhat independent (you can crop/zoom to highlight parts), and it can access new places (ie your home).

When the original degrades (eg because I cut across it with a knife), it loses it’s authenticity and authority to the copy, eg a photograph: Suddenly you start looking at the copy and say “this is how this sadly destroyed artwork originally looked like”.

(This is where Benjamin has a very interesting detour to cult value vs exhibition value and how that’s shifted, I’ll skip it here.)

Anyway, NFTs. The big question is, can a proof of ownership restore the Aura of authenticity for digital art? The answer is a resounding “no”.

Just like a photograph, there never has been an “original”. Even if you’re the artist who saved the PSD half a second ago, you now have like 5 copies of it already: In your RAM, on your hard drive, in the CPU/GPU cache, on your screen, and if you do automatic backups, in a cloud.

The NFT’d artwork you buy won’t be in the “here and now”. It’s not with you, it’s somewhere on the internet, either as a classical URL or on IPFS. Copies, each of which as valid as yours, are sent to everyone who wants to see it.

Even if you somehow end up with no copies viewable to anyone else: Attach a second monitor to your computer and duplicate the display. Now you have two equally valid copies of it you can look at.

Owning a digital-art-NFT is very different to owning physical art. If anything, it’s as meaningful as getting copyright licenses, but even then, the TOS of NFT trading places give you rather crappy licenses.

FoundationApp for example forces creators to give up a “non-exclusive, world-wide, assignable, sublicensable, perpetual, and royalty-free license“

And if you buy it, you get a non-commercial „limited, worldwide, non-assignable, non-sublicensable, royalty-free license to display“

That’s right: If you buy an NFT from foundation.app, you can’t even do with the thing as you please. They go on to allow you to share it to say “this is mine”, but you can’t use it in a monetized YouTube video or twitch stream. Buying NFTs is this useless.

Pro tip: If you want a digital artwork exclusive for you, commission an artist. With that, you get to be part of the creation of something truly new and support an artist both monetarily and in improving their skills, and you generally can use your commission however you want.

Die Digitale CD

Mama will ihrer Freundin eine CD schenken. Problem: Die gibt’s nur noch digital. Nichts einfacher als das, denk ich, wir laden die einfach runter und ziehen die auf einen USB-Stick.

*Edward A. Murphy lächelt müde*

Zum ersten Mal in meinem Leben ist das Problem nicht digitaler Natur. Der Download klappt und spuckt eine ZIP aus. Die Dateien sind einfach MP3s. Fantastisch.

Also noch fix zum Kvickly um quickly ‘n kleinen USB-stick zu fangen. Kvickly ist groß, sie haben bestimmt 300m² allein für Kleidung. Ich schlendere durch die Gänge, vorbei am Gemüse, an den Pfannen, an Lego Ma– LEGO MARIO?!?!

WARUM IST LEGO MARIO SO BLOCKIG?!

… und zum Elektronikregal. Eine Hälfte ist besetzt mit Glühbirnen. Ein Viertel ist voller Druckerpatronen. Doch dazwischen sind sie, USB-Mäuse, -Tastaturen, -Kabel, -Powerbanks, -Autoadapter, Handyhüllen und… das war’s. Gut, guck vielleicht ist an den Enden ja noch was.

Einmal zum Ende geschlendert, Batterien in allen Größen und Formen. Na, dann muss es wohl am anderen sein.

Nasenhaartrimmer und Ohrenschmalzschnecken.

Währenddessen ist Mama mit ihren Einkäufen fertig. Okay, hier wohl nicht. Wir gehen zur Kasse, und da! Mehr USB-Krams! UND EINE SPHINX MIT TITTEN!

Doch bei dem USB-Krams (Drahtlosladegeräte, Powerbanks für Radfahrer, Kabel ohne Ende) ist wieder kein USB-Stick dabei. Na dann. Mama, keiner sozialen Interaktion scheu, fragt noch mal die Verkäuferin. Sie sagt, “natürlich haben wir USB-Sticks!”, und geht schnurstraks auf das Regal zu, wo die ganzen Kabel waren.

“Meinst du nicht das?” – “ne, die sollen Daten halten können.” – “Mobile Daten?” – “Speicherplatz! 8GB oder so” – “Aah, ne, sowas ham wa nich”.

Tja.

Nun denn. Wir sind ja im Borgen, dem großen Einkaufszentrum in Sønderborg. Hier gibt’s alles!

Ein Schreibwarengeschäft und Handyverkäufer später lässt mich diese Hoffnung korrigieren:

Hier gibt’s alles! Außer USB-Sticks!

Auf dem Weg nach draußen dämmert es mir so langsam, dass ich genau so gut nach Kassettenrohlingen hätte fragen können. Sind USB-Sticks etwa schon veraltete Technik?

Auf dem Weg nach Hause kommen wir an einem Computerreparaturshop vorbei. Und Hurra, er hat USB-Sticks! 128 GB für 500 DKK/67€?!! Die Dinger gibt’s auf Amazon für <20! und ich brauch nur genug für ‘ne CD, also höchstens 800MB.

Moment mal. CD?

Ich frag Papa. Er glaubt sich, dunkel zu erinnern, dass wir noch Rohlinge haben. Hurra! Und tatsächlich, Papa holt eine Spindel raus. Ich nehme mir eine, und… ach ja. Mein Laptop hat kein CD-Laufwerk mehr.

Gut, nehm ich einfach denen der Elter… doch möglicherweise hatte ich die letztes Jahr auch schon auf moderne Dinger upgraded. Papas Arbeits-PC? Hat das Ministerium auch upgraded. Alle haben sie kein CD-Laufwerk mehr.

Nach langer Suche findet sich endlich der alte Laptop. Frisch mit Windows 8 und CD-Laufwerk. Hurra! Ich lege den Rohling ein und starre auf den Bildschirm. Wie ging das noch gleich mit CDs brennen? Da war doch was mit Audio vs Daten-CD?

Tatsächlich geht’s mitm Windows-Explorer. Einfach Daten rüberziehen, als wär’s ‘n USB-Stick, dann Finalisieren, Audio-CD wählen und WARUM HAT SICH DER WINDOWS MEDIA PLAYER GEÖFFNET? Also noch mal auf Brennen drücken und… Das war’s?

Das Ding brummt ein bisschen rum und spuckt die CD wieder aus. Gleich mal gucken ob’s funktioniert. Im Windows Media Player tut’s es auf jeden Fall.

Und in einem richtigen CD-Spieler? Ich versuche, die Anlage anzuschalten…

…und der Schalter bricht ab.

Ich glaub, wir verschicken die CD einfach as-is und sagen “wenn’s nich geht, schicken wir dir die ZIP per Email”

ZIP is not a good measure of lyrical complexity

The following paper recently came to my attention:

Varnum MEW, Krems JA, Morris C, Wormley A, Grossmann I (2021) Why are song lyrics becoming simpler? a time series analysis of lyrical complexity in six decades of American popular music. PLoS ONE 16(1): e0244576. doi:10.1371/journal.pone.0244576

It attempts to analyze lyrical complexity of top 100 songs and correlate it to their success, socio-economical factors, and so on. I am not really qualified to talk about most of the work they are doing (they all are from psychology departments and talk about what probably are psychology things), but as an ex-computer science student, current multimedia production student and a hobbyist writer, I do feel qualified to talk about this line in their methodology specifically:

Compressibility indexes the degree to which song’s lyrics have more repetitive and less information dense, and thus simpler, content. We used a variant of the established LZ77 compression algorithm.

LZ77 is an ancient compression algorithm from 1977 (hence the name). It’s the granddad of the modern deflate algorithm used to compress webpages, PNGs, ZIPs, PDFs, ODTs, DOCXs, and so on. The authors correctly identify:

We used the LZ77 compression algorithm because of its intimate connection to textual repetition. Most of the byte savings when compressing song lyrics arise from large, multi-line sections (most importantly the chorus, and chorus-like hooks).

The words “byte savings” already is hinting at what the problem here might be. Because, yes, if your lyrics repeat the same thing over and over again (and to be fair, pop songs often do), and if you ZIP it up, it will take up less space on your disk and yes, in information theory, the song would be less complex.

But we as listeners aren’t really interested in information theory and degrees of compression. If anything, we might be interested in whether the lyrics go for a very simple rhyme, or a combo that’s been heard hundreds of times before (house → mouse, fire → desire, heart → apart, etc – rhymezone is very useful to find common pairings), or for one you don’t see coming (eg. Madvillain’s Meatgrinder “trouble with the script → subtle lisp midget”). The ZIP algorithm won’t be able to tell the complexity of the rhymes apart, it only can judge whether or not words or phrases are literally repeating.

And even that isn’t necessarily a good metric to judge complexity. Take the lyrics of Rammstein’s Du hast for example:

Du
Du hast
Du hast mich
Du hast mich
Du hast mich gefragt
Du hast mich gefragt
Du hast mich gefragt und ich hab’ nichts gesagt

This is some ZIP-tastic lyrics and proof that these lyrics are simple – except they aren’t. This is a wordplay on “du hast” (you have) and “du hasst” (you hate). If you hear these lyrics, you’re constantly trying to decypher which of the two meanings this hast/hasst they’re talking about, and the four (!) “Du / du hast / du hast mich” repititions before the song even gets to the verse quoted above make it a very cognitively engaging, and, dare I say, complex song up to that point, just by repeating an unclear phrase.

So, we have established that any conclusions drawn from ZIP-ping up song lyrics are shaky at best, I have another question:

Why, why, why a ZIP algorithm?

It is beyond me why the first thing you’d head to when tasked “measure whether new songs are simpler” is LZ77, or any kind of compression algorithm. Compression algorithms will look at substrings, so h[ouse] and m[ouse] would be better to compress as a pair than ho[use] and ca[use], because the repeated substring is longer. But house, mouse, cause are all just 5-letter-words which (vaguely) rhyme, so there’s no reason to count one pairing more or less complex than the other.

And it’s not like there aren’t metrics which are designed to look at this problem in particular: Lexical Diversity Indices exist, here’s a paper describing all their differences, doi:10.3758/BRM.42.2.381. And even that paper admits:

In sum, all textual analyses are fraught with difficulty and disagreement, and LD is no exception. There is no agreement in the field as to the form of processing (sequential or nonsequential) or the composition of lexical terms (e.g., words, lemmas, bigrams, etc.) […] In this study, we do not attempt to remedy these issues. Instead, we argue that the field is sufficiently young to be still in need of exploring its potential to inform substantially.

So even when analyzing with an algorithm designed to measure lexical diversity, it still would run into trouble, especially when being ran in the “full auto” mode that is necessary to classify tens of thousands of texts.

The research already has been done

Varnum et al. fail to acknowledge the research of Isaac Piraino, published at least a year prior to theirs. Piraino took 450k song lyrics (as opposed to Varnum et al.’s 15k), filtered to only include lyrics above 100 words (because short lyrics necessarily are more diverse; you first need to write a word before you can repeat it), and measured them with MTLD (a metric actually designed to measure lexical diversity).

Piraino’s findings: MTLD peak in the 2000’s
Varnum et al.’s findings: Steadily rising compressability.

Piraino hypothesizes:

My theory is that the gradual decrease in the popularity of rock music and increase in popularity of hip-hop explains the upward trend to the end of the 90s. Rock music, although complex in different ways, usually has a more simple vocuabulary than its lyrically dense hip-hop counterpart. My theory for why it went back down after the 90s is that hip-hop has slowly been transforming into pop music in combination with the rise in popularity of EDM. […] EDM typically has a handful of catchphrases that are repeated over and over again.

Conclusion

Varnum et al. acknowledge that “Songs might be complex or simple in other ways as well, in terms of rhythm, melody, number of instruments played, and so on.” But since their methodology is so shaky, and their results seem to contradict other research, I’d be very, very careful to even try to draw any conclusions from this. Or really, most things which try to algorithm away at huge datasets and then try to explain the most intricate and inter-connected thing humanity has to offer, culture, with it. Overall, it reminds me of the “timbre paper” floating around, which tries to measure musical quality by how much timbre it has (and got torn apart over it):

The EDE model: Exploring, Developing and Established Creators

Moin.

A while back, I posted a thing about “Why Grinding is bad for you” on r/youtubegaming, where I encouraged gaming creators to try different formats, instead of going for the first thing which comes to mind, which quite often is just a Let’s Play. To aid this discussion, I developed the EDE-model, which I wanted to expand on here.

The basic gist of the EDE model is that creators who just are starting out have much more freedoms on what they can do than big channels.

1. The Exploration Stage

At this first stage, a creator just made a channel with the intend to upload something, starting from 0 subscribers, 0 views and 0 videos, or something very close to this. This crucially means the following:

  • Nobody has any expectations on what this channel is going to upload. Because of this, the creator has the tough fate of complete creative freedom where they can do anything.
  • Typical channel recommendations (“upload on a schedule! stick to formats! consistency is king!”) aren’t really applicable yet, because they’re strategies which optimize for existing subscribers and thus require some degree of following to be effective.

My advice for creators at this stage would be to try anything that’s vaguely interesting to them. To not get started doing regular formats and series just yet, but just try everything they always wanted to try. To create as if view counts and subscriber counts don’t exist.

This freedom is not something which you really get later on in the process, at least not without alienating vast portions of your audience.

2. The Development Stage

At this stage, the creator probably has made a few dozen videos (depending on the type of content and effort which went into each individual video), and figured out which kinds of content they want to do more of, as well as which kinds of content they don’t like doing. With the experience they’ve gathered in the Exploration stage, they probably also have considerably better video making skills and equipment than in the very beginning, and possibly already have gotten feedback from friends and family on which videos were nice to watch and which ones didn’t work out as intended.

Based on this, the creator now can start transitioning towards doing what established channels do, namely:

  • Find a niche to be in
  • Develop formats and serial content which can be uploaded on a regular schedule
  • Start putting more care into marketing, ie SEO and good thumbnails/titles

If a developing creator and finds their initial niche to be a dead end for whatever reason – too much effort per video, copyright trouble, getting bored of it – it’s completely fine to go back to exploring other options. This is where it comes in handy to have had this exploration stage beforehand, so they already know what they’d also want to do and come up with a somewhat thought out plan on how to transition between the niches.

But, if you’ve found your idea to be sustainable and fun, you can continue on your path and eventually reach…

3. The Established Stage

At this stage, the creator has probably made hundreds of videos, and is decently well known in their niche. This also is the stage where fans start to become a significant force, be it for promotion, merch sales or patreon stuff. Micro-optimizations can become surprisingly powerful here.

Since their channel probably generates some decent amount of money one way or the other, the creator can invest into the channel much more, be it through buying better equipment, dedicating more time to the channel that they otherwise would be working on a “real” job, or getting opportunities which smaller YouTubers just don’t get. Note though that the money doesn’t come on its own, but drags a whole tail of bureaucracy behind it.

The niche they live in is pretty set in stone and difficult to escape from without losing a lot of attention from subscribers. That said, it sometimes can be very necessary to pivot even as an established creator, eg. if the niche they’re in is very small and/or shrinking, causing the channel to stagnate. Further, because the fans and subscribers have very strong expectations of the channel, it can become increasingly difficult to meet these expectations.

Which isn’t to say that an established creator has a worse fate than someone in one of the other stages; there’s a reason why all the bigger YouTubers can be found in this category. It’s just that it comes with a different set of challenges than a small one, so it’s not like the moment you become established, all your trouble will go away.

Why this model can be useful

Often, creators who start out have a fairly concrete idea of what they want to do, so they skip the exploration stage and then go straight for the development stage. And while this may work, it often times leads to this “small YouTuber mentality”, in which the creator “grinds” out videos day after day or week after week, without getting anywhere, and the advice from peers being “just keep at it, do these micro-optimizations and hope that the algorithm picks you up eventually”.

The problem I have with this mentality is that it reduces something which can be very much fulfilling – video production and the creative process in general – into a 9-5 kinda job in which the modus operandi is “preservere against the odds”, and this job doesn’t even pay well.

My hope is that this model encourages people to pursue extreme levels of creativity at first, and once they know where their creative preferences lie, start making a channel geared towards success.