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The other day I was joking about some abstruse aspect of XML and I said "I happen to have Tim Bray right here", in reference, of course, to Woody Allen's devastating cinema queue put-down in Annie Hall. Now I was only half joking - Tim Bray was on IRC with me working through the Atom Publishing Protocol interop at the time - but the deeper point is that through the web we do have access to people and their works in a way that was pure comedic fantasy in 1977. I can find copious examples of Tim Bray's or Marshall McLuhan's work, searching them for the citation I need, I can talk to Tim, or see how the authors of books I like feel about their movie adaptations.

It seemed as if the joke was on me, as the chap I was talking to had never seen Annie Hall. But I happen to have Mr Allen right here:

Heck, I even have the strange Dada website pitching direct debits I remember from the UK in 1996 here.

Those of you who read my blog directly, rather than via a feed-reader, will notice that it is looking styled again, for the first time since CSS Naked Day in April.

I made an initial conversion to hAtom by hand in the meantime, but a few weeks back Michał Cierniak and I checked in a change to the underlying Blogger templates to make hAtom the default, which the Blogger team graciously accepted. This should enable much simpler client-side parsing of the blog pages. One thing we had to do to enable this was to add a new datatype to output a date in the W3C's ISO-8601 profile, as expected by hAtom. If you look in the templates now, you'll see markup like this:

<abbr class='published' expr:title='data:post.timestampISO8601'> <data:post.timestamp/></abbr>

If you want to make your own hAtom friendly templates, you can use the data:post.timestampISO8601 appropriately in the date-time design pattern; the data:post.timestamp will reflect your personal formatting preferences as before.

The UK Professional Association of Teachers has called for YouTube to be banned because it has been used to show people being bullied. Meanwhile, Oxford police are pursuing a man who pinched a news reporters' bum on air:

I trust the PAT will call for Channel 4 to be banned too.

Perhaps the net can fulfill Bentham's dream of the panopticon, where prisoners are always watched. In the Philippines they are showing the way. With Bentham, Busby Berkeley and Michael Jackson as guiding spirits, 1500 prisoners perform "Radio Gaga", "Thriller", the Algorithm march, and, yes, "YMCA" for the camera. If they're taking requests, I nominate Pink Floyd's "In the Flesh".

YouTube, like the rest of the web is a mirror to life. If you don't like what you see, look for something else, like this elegy for Concorde:

Or remember Antonioni

Or Syd Barrett

Or make a video to tell your own story.

There is a dangerous prejudice afoot in the technical world - Homographophobia. Those who suffer from it call for segregation, to avoid the miscegenation of meaning - they want to ensure that their Humpty-Dumpty definitions are not polluted by sharing with others. But they are wrong. We are all imperfectly multilingual, we all have our own internal associations for any given word, but we can only communicate through overlapping meanings with some degree of sharing of concepts.

So we should eschew namespaces and hierarchies as they are just solipsistic security blankets, and embrace the overlapping ambiguity of using words as tags, as Roschian prototypes and as puns. Homophonophobia is a similar affliction, yet homophones give rise to so much entertainment and jollity, as the "four candles" sketch shows:

One way of thinking about social networks is through "social objects" - the cultural touchstones and shared ideas that we use to bridge our Dunbar-constrained networks to broader communities. We all do this - use some shared object as a point of conversational reference. Here in the US it tends to be sports teams activities; in the UK there's always the weather to fall back on. (This fails in California because it's too predictable - when I came here in 1998 it took me a while to realise that saying "beautiful day again" was like saying "I see gravity's still working" to Californians).

Talking about social objects is nothing new - Jyri discussed them at length back in 2005, and danah dissected Friendster's suicide in 2006 when they killed off the Fakesters (user profiles that represented social objects like "Jack Daniels" and "Burning Man").

Where I find the 'Dunbar number' idea falls down is that social network connections, like so many other human-made things, are power-law distributed. The small number of highly-connected entities that fulfil the role of social objects are sometimes people. If you think about celebrities, they clearly fit- being able to discuss Brad and Jen and Angelina's latest shenanigans binds you in, and shows like American Idol are designed to draw on this need, giving the Faustian bargain of fame in exchange for objectification.

Different social network services can be distinguished through the different kinds of object that lead to their success. Friendster's expulsion of Fakesters, and later attempts to use TV characters is one example; MySpace's embrace of independent bands and FaceBook's initial use of Universities as touchstones help explain their divergence. LinkedIn has Companies as their touchstone, Orkut has it's communities, which are often used as badges for the users to express their identity. Suicide Girls is a blog network focused around models-as-objects, last.fm uses songs and bands, Flickr uses photos, Dopplr uses places.

Looked at in this way, James Hong's attempt to change the core objects of HotOrNot from pictures of strangers to pictoral self-tags he calls "Stylepix" seems an interesting experiment.

Making sense of the different object graphs and how they interact with the social graphs in these overlapping sites will keep lots more researchers busy, I'm sure.

Editing shows respect. Steve Gillmor has put up his new video podcast Bad Sinatra which is him unedited wandering around and chatting to people. Now, I like Steve, and enjoy having rambling conversations with him about things, but I don't think it works as video. With video, as with audio, editing shows respect for your audience. To do a truly live or as-live show, like the splendid In Our Time, you need to plan it out in advance and choreograph it. Otherwise, you need to edit. Carefully.

If you want to hear a perfectly edited podcast, listen to Radiolab. I spend 90 minutes a day cycling and listening to my iPod, which is exactly the use case for podcasting I explained to the BBC a few years back. Now that shows of this quality are there to be downloaded regularly, my tolerance for self-indulgent rambling podcasts like bad voicemail messages is way down.

I made this point way back at the dawn of podcasting , when Chris Lydon's well-edited interviews inspired us to download them to our iPods. In the online world we are each others' media, as we mediate what is worth reading for each other through our blogs and link streams. This too, is a form of editing, and doing it shows respect for each other. Steve, tighten it up into something worth watching. My children know how to do it.