Two suspected cases of suicide on the Cornell University campus have officially been confirmed by the Tompkins County chief medical examiner, bringing the total number of suicides for the academic year to six.

Two suspected cases of suicide on the Cornell University campus have officially been confirmed by the Tompkins County chief medical examiner, bringing the total number of suicides for the academic year to six.

Ten years ago this week, online music pioneer Justin Frankel released a little application dubbed Gnutella that enabled file sharing through a distributed P2P network. Frankel, whose previous claim to fame was programming the then hugely-popular Winamp MP3 player software, supposedly named the client after his favorite hazelnut cream spread, and the first version published online was really more of a proof of concept than anything else.

Still, Gnutella hit a nerve. Napster had been sued three months before, and many file sharers were rightfully fearing that the music industry would eventually prevail in court and force Napster to switch off its servers. With Gnutella, no such switch existed, as the client was allowing direct P2P connections without the help of any centralized server. Add to it the fact that Gnutella, unlike Napster, allowed users to swap videos and software as well as MP3s, and you begin to see why many immediately viewed Gnutella as the next step in P2P file sharing.

A step, one should add, that made Frankel’s employer AOL more than a little nervous. It only took the Internet giant a day to force Frankel and his colleagues to take down Gnutella – but even that was too long, as countless sites quickly started to first mirror, then build upon Frankel’s official Gnutella client. There’s always been a little bit of mystery surrounding the exact happenings of those days, but some people have been musing that a person with a surprising amount of insider knowledge showed up in one of the first IRC chat rooms dedicated to Gnutella soon after AOL pulled the plug, only to provide some very detailed information about the inner workings of the client’s P2P protocol.

Speaking of IRC: Early versions of the software didn’t really have any way for users to connect, save for entering another user’s IP address, which is why IRC quickly became an integral part of the early days of Gnutella. It was also in those IRC chat rooms that the myth of Gnutella as a seemingly invincible P2P protocol was born, and the fact that AOL tried but couldn’t contain the software seemed to fit right into that picture. Gnutella was one of the very first P2P apps I ever wrote about, so I lurked in those chat rooms as well, where people were cheering the fact that someone finally found a file sharing solution that couldn’t be shut down. I still remember one IRC user saying: “We’ve started a damn cult again!”

Only Gnutella wasn’t really ready to be a cult. The network routed search requests from peer to peer, leading to an exponential growth of traffic as its network became bigger. Napster programmer Jordan Ritter described the problem early on in a paper titled “Why Gnutella Can’t Scale. No, Really,” and Frankel himself, who has hardly ever gone on the record about Gnutella, once stated that he was fully aware of “how poorly it would scale” when he released the client.

Still, Gnutella captured the imagination of many, one of them being Mark Gorton, founder of the New York-based Lime Group. Gorton was at the time pursuing a vision of automating businesses through structured data, and Gnutella, as something that could, for example, distribute real estate listings wrapped in XML, seemed to fit that image quite nicely. Early versions of the Gnutella client of Gorton’s LimeWire venture were still written with this vision in mind, hoping to build a P2P network that could eventually be used to do all kinds of things with which we’re now familiar on the web, thanks to web services.

LimeWire’s engineers joined a growing group of developers loosely connected through web sites like the long-defunct Gnutella.wego.com (whose admin Gene Kan tragically committed suicide in 2002) and mailing lists like the one for the Gnutella Developer Forum, and one of the first issues to be tackled was scalability. The introduction of a two-tiered system of ordinary clients and so-called Ultrapeers helped grow both the network as a whole and each user’s search horizon. The idea was also later adopted by the developers of KaZaA, whose own take on this two-tiered approach still lives on in Skype’s P2P network.

Technical improvements like these helped Gnutella to grow, but the competition was quick to catch up. Bram Cohen unveiled a first version of BitTorrent only two years after Frankel had published Gnutella, and BitTorrent quickly became the file sharing client of choice for sharing videos online. Part of BitTorrent’s quick rise to fame was its modular simplicity: Cohen had outsourced much of the search and indexing of files to torrent web sites, only handling the actual distribution of data within the client. Gnutella on the other hand was meant to work without any web server. That made it much more invincible, but also much less accessible to users who migrated from apps and clients to a world of web services.

Another issue that has plagued Gnutella from the beginning is not technical, but legal. The protocol was supposed to outsmart trigger-happy lawyers, but the mere fact that there wasn’t a central switch to turn off the Gnutella network didn’t stop rights holders from going after people and companies associated with it. Lawsuits and legal threats forced Morpheus, Xolox, Bearshare and a number of other companies and developers to throw the towel.

LimeWire got sued by the music industry as well in 2006, but that hasn’t stopped the company from continuing with the development and monetization of its client. LimeWire’s client also utilizes BitTorrent these days, but LimeWire’s VP of Product Management Jason Herskowitz told me during a phone conversation that Gnutella has “worked really well” for the company, and that its engineers are looking into ways to make Gnutella once again more attractive to developers by exposing some of its functionality through web services. “There is still a long future ahead for Gnutella,” he predicted.

Not everyone agrees with that outlook. Adam Fisk, who was hired by LimeWire as one of its first developers in the summer of 2000, but left the company in 2004 to eventually start his own P2P venture dubbed Littleshot, believes that some core assumptions of the Gnutella protocol are outdated. “I don’t think that distributed P2P search makes any sense,” he told me, explaining that the very server-less search functionality that made Gnutella superior to Napster also ended up being its biggest burden, and that it would be much easier to have servers handle search and just use P2P to deliver data – a recipe that has already helped BitTorrent succeed.

Sure, LimeWire and some other Gnutella clients could still stick around for a long time, Fisk admitted, but he was skeptical that we would ever see any significant new project based on Gnutella. “That would be shocking,” he said.

Photo courtesy of (CC BY-SA) Flickr user Jessica  Diamond.

Related content on GigaOm Pro: What’s Next for the Cloud? Distributed Architectures (subscription required)

PEOPLE - Toute l'actualité des stars, c'est par ici...

Tout donnait à penser que la représentation se terminait sur le suicide de l'un de ses personnages. Alors, nous avons quitté la salle, comme beaucoup de spectateurs. Erreur ! La tombée du rideau correspondait à un entracte.

[Every week, IndieGames.com: The Weblog co-editor Tim W. will be summing up some of the top free-to-download and commercial indie games from the last seven days on his sister 'state of indie' weblog.]

This week on 'Best Of Indie Games', we take a look at some of the top independent PC Flash/downloadable titles released over this last week.

The goodies in this edition include a 2D platformer with a clever copy and paste gimmick, a 2D action game where you attack enemies by commiting suicide, a one-button effort about the adventures of a fish with a human-like face, and an action RPG where the characters are depicted as circular dots.

Here's the highlights from the last seven days:

Game Pick: 'Jump, Copy, Paste' (Arvi Teikari, freeware)
"Jump, Copy, Paste is a 2D platformer in which you overcome obstacles by copy and pasting parts of a level to build new platforms or create a passage through a wall. Parts which are greyed out cannot be affected by your copy and paste ability, so players need to work around those areas as they collect all yellow pieces to unlock the exit door."

Game Pick: 'Siromaru' (Abaruzu, commercial indie - demo available)
"Shiromaru is a 2D action game in which you attack enemies by commiting suicide and causing a chain of explosions. The longer the chain reaction, the more extra life items appear for you to collect."

Game Pick: 'Tiny and Big' (Black Pants Studio, commercial indie - demo available)
"Tiny and Big tells the story of a thief who had stolen our hero's most valued possession - a pair of underpants. The game basically is about him trying to chase after Mr. Big who had escaped to the top of a tall mountain. Armed with a raygun and a grappling hook, you must cut pillars and solid rock to build yourself platforms to stand or jump on."

Game Pick: 'Fish Face' (Beau Blyth, freeware)
"Fish Face is a one-button arcade game with three levels to play, each taking roughly five to ten minutes to complete. Here you play as a fish that uses its buoyancy to move in and out of the water, avoiding walls or enemies that will hurt our aquatic friend on impact."

Game Pick: 'Dragondot' (Nathan McCoy, browser)
"Dragondot is an action RPG in which you play as a dragon that can only claw at its adversaries at first, but will gain new and improved abilities whenever it gains enough experience to level up."

If you’re a photographer and use a Mac, chances are you’re using Lightroom or Aperture. Probably Lightroom, since Aperture is less popular among pros — and the latest version seems to be an acknowledgment of that. The features added in version 3 are clearly intended to draw casual shooters using iPhoto to the paid image editing honey pot. Since so many of these amazing new features are direct side-loads from iPhoto, it smooths the process and makes the program as a whole more approachable, though whether existing Aperture users will find them helpful is questionable. Brushes, on the other hand, are a welcome addition to any photographer’s toolset, and depending on how dedicated you are, may be worth the price of admission.

Invasion of the iPhoto features

As long as I’ve been using Aperture, I’ve considered it a processing application. Its photo management was troublesome here and there, and iPhoto had the best ways of showing off your shots, but I dealt with it since maintaining two separate libraries of the same photos would be disk space suicide. I’ve only used Lightroom a little bit (and a version or two back) but all my friends say that it just has a better workflow for serious photo work — importing a couple hundred shots, scrubbing through them, doing the necessary adjustments, and outputting to the necessary format. Not that I have trouble doing that in Aperture, but apparently it’s faster and better in Lightroom.

Confronted with such a fearsome opponent, Apple decided that it would be better to flank than to risk a frontal assault. Hence the expansion of Aperture’s incorporation of iPhoto features Faces and Places. I question their relevance in a photo processing application, but given Apple’s tendency towards coalescing functionality, I’m guessing that iPhoto will eventually be Aperture: Gimped Edition, and the only real choice for organizing and messing with large numbers of photos will be Aperture.

There are some kinks to be worked out. Faces plainly doesn’t work. After it spent literally five hours going through my photos (about 1000 per hour), this is what it has come up with:

No, it didn’t have a lot to go on (I hadn’t “trained” it much yet) but really now. After giving it a few more pointers on what I looked like, it still mistook a three-year-old tow-headed girl, my friend Monica (who is Indian, and in a wedding dress), some E3 booth babes, and Casio president Kazuo Kashio for pale, bearded, Devin Coldewey. The cork board background is jarring and the interface for going through your shots is terrible. I realize this is a technology still being perfected, and that is why I am wondering: what is it doing in my RAW editing program?

Places is useful if you have a geotagging camera (still rare) or want to spend a few hours dragging and dropping stuff onto the map. It can be fun, actually, if you take a lot of pictures of your friends, and want to drag and drop this or that night onto the location you went to; it’s like creating a different kind of album (“Linda’s Tavern”), and indeed you can make a browsable smart album from locations. If you’re like me, you won’t feel complete until the photos are more or less where they were within the city, and not all grouped in a single pin, smack in the middle of the city. This could have some promise, but with a backlog of several thousand shots, getting a library up to date in Places is a task I wouldn’t wish on my worst enemy.

It’s a mistake to judge Faces and Places by simply saying “well we were fine before them,” because it may just be that we found ways of working in the old system of organization (Project>Folder>Album) that approximated what these new features do. But I don’t think it’s wrong to say they just don’t really do much, and feel out of place to boot. You have to work at them, or shoot for them, in order for them to really be worthwhile. Still I have to give credit where credit’s due: if you just consider Faces and Places new columns to organize by (like rating or date) then they’re worth their salt. As flagship features, though, they’re duds.

Lastly, the slide show thing. It’s like finding a trout in the milk. Not that it doesn’t work — it works as well as iPhoto’s thing, and I suppose it’s better to have than not. It’s just a little weird to have a sort of… aftermarket feature popped in there next to the serious editing tools. Its little presets are, like in most Apple programs, 25% solid, 75% fluff. Who in the name of all that is holy is going to pick “Shatter” as their slide show transition? It’s ghastly.

The new features are very well explained in little videos accessible through the “Welcome” screen, which will be handy for new users — if they can find the screen after they close it (it’s in Help>Welcome to Aperture).

The good stuff

So if the iPhoto features are icing, the actual cake is the RAW editing, adjustment tools, and user interface. Let’s start with what I would say is the best new feature: Brushes.

You can see a pretty thorough overview of the feature at Apple’s site, but the gist is that it allows you to apply certain effects in limited areas using a brush of adjustable size and intensity. That’s great! I can’t count the number of times I’ve vacillated between two versions of a photo where an adjustment necessary for one part ended up blowing out another, or I just wanted to bring out the color in the eyes but not in the background. A lot of fiddling could usually approximate the effect I wanted, but it would be so much easier to just use a brush. I’ll be using the hell out of this feature, and it’s perhaps the only real step Apple took against Adobe in this update.

(combination Brushes and Help Video screenshot)

The brushes are non-destructive, like any of the dials and curves you can play with in the adjustments panel, so you can feel free to experiment, layer, and try out different effects. One thing I often have to do when shooting review shots is emphasize the color of LEDs, but if the subject is well-lit, the LEDs are going to be barely visible. No problem; make a little brush, add in a little contrast right there, bump the saturation just in the one area, and boom, it sticks out like a sore thumb. Brushes are useful for lots of little things like that.

The new full-screen browser is handy but not really a revolution. They’ve added the ability to get around your library a little more, which is nice, but it’s not as streamlined as the regular browser, which is always accessible by a single keystroke. The fullscreen presentation has definitely been improved, however, and when showing off photos to friends or clients, it’s a better option than either the plain editing window or a slide show.

The preset adjustments, I think we can agree, are being blown way out of proportion. These are the same kind of “professional adjustments” that you have been able to apply on cheap point-and-shoots since the beginning of time. There are a few quick adjust things like high-contrast black-and-white or exposure +1 that are nice to have previews for (the live preview window is handy), but let’s be honest, these are just filters. I’d like to be able to say that they’re carefully adjusted so you won’t see weird color effects, blackouts, or blowouts, but the fact is every one I tried looked cheap and overdone. The others, like white balance and so on, seem pretty redundant considering the actual controls for adjusting those aspects are mere pixels away in the same window.

Click to see it larger. You can’t really tell here, since this photo isn’t very high contrast, but in several of the other shots I tried this on, the vintage look was really purple, cross-processing was really green, and toy camera pushed the contrast way too far. Subtle adjustments these are not.

The good news is that people new to the program might try a couple, see that they were created by dragging curves and color bars around, and then make their own. I’ve had my own “base” adjustment for years now, which was just as easily accessible and just as customizable. Putting together a “look” for a shoot using this feature might be easier now than before, but it’s still just a toy at this point.

The ability to have multiple libraries is nice; splitting work and personal stuff would be my move, so that if a meteor crashed into TC HQ (or, more likely, I’m fired for insubordination), I could free up a couple gigs in one clean sweep. It’s also convenient for backing up and sharing; “here’s my whole ‘wedding’ library, feel free to do what you like with it” rather than “here’s a folder full of RAW files.”

A quick note

Just a PSA: installation of Aperture 3 took ages. Plan on losing at least a working day to 100% processor usage as it converts your library, searches for Faces, and reprocesses your RAW files with the new profile. I’m not holding this against Apple (it’s a LOT of data to sift through) but it’s just something to be aware of.

Conclusion

Aperture is still a great program, in my opinion, and the budding photographer would be a lot better off with this than with iPhoto if they’re planning on doing anything more than collecting snapshots. I’ve gotten used to Aperture’s workflow and they haven’t changed it much in 3, in fact they’ve provided a couple serious improvements with Brushes and potentially Places and Faces — you know, if you’re into that kind of thing.

The trouble I see is that Aperture, once a rather single-minded program, is being diluted with features that have nothing to do with its core functionality. Why not have a new program, called “Collection” or something, that hooks into all your libraries, allows for creating robust slide shows, exporting directly to Facebook, and all that sort of thing? Putting all this junk into Aperture is doing to it what Apple has done to iTunes: once a sleek and straightforward program, it has now grown bloated beyond comprehension; it’s a bit like seeing a once-great fighter gone to seed. I have more of an attachment to Aperture than to iTunes, but if Aperture 4 continues along the vector indicated by Aperture 3, you can consider me a Lightroom conversion.

Give Aperture 3 a 30-day trial for free here. $199 to buy, $99 to upgrade.

Le syndicat CFE-CGC-UNSA, très en pointe sur la question des suicides à France Télécom, déplore qu'aucun suicide de fonctionnaires "n'ait été requalifié en accidents de service", dans une lettre ouverte au président de la République.