Wed, 22 Mar 2017 18:52:08 GMT
Here’s a crazy idea: threaded tweets, but logged together, on a single webpage. A ‘weblog’, if you will.— Paul Lloyd (@paulrobertlloyd) March 21, 2017
Some people have been putting Paul’s crazy idea into practice.
There are more people I could mention …but, to be honest, not that many more. Seems like most people are happy to only publish on Ev’s blog or not at all.
I know not everybody wants to write on the web, and that’s fine. But it makes me sad when people choose not to publish their thoughts because they think no-one will be interested, or that it’s all been said before. I understand where those worries come from, but I believe—no, I know—that they are unfounded.
It’s a world wide web out there. There’s plenty of room for everyone. And I, for one, love reading the words of others.
Wed, 15 Mar 2017 11:17:29 GMTI got a nice email recently from Colin van Eenige. He wrote: For my graduation project I’m researching the development of Progressive Web Apps and found your offline book called resilient web design. I was very impressed by the implementation of the website and it really was a nice experience. I’m very interested in your vision on progressive web apps and what capabilities are waiting for us regarding offline content. Would it be fine if I’d send you some questions? I said that would be fine, although I couldn’t promise a swift response. He sent me four questions. I finally got ‘round to sending my answers… 1. https://resilientwebdesign.com/ is an offline web book (progressive web app). What was the primary reason make it available like this (besides the other formats)? Well, given the subject matter, it felt right that the canonical version of the book should be not just online, but made with the building blocks of the web. The other formats are all nice to have, but the HTML version feels (to me) like the “real” book. Interestingly, it wasn’t too much trouble for people to generate other formats from the HTML (ePub, MOBI, PDF), whereas I think trying to go in the other direction would be trickier. As for the offline part, that felt like a natural fit. I had already done that with a previous book of mine, HTML5 For Web Designers, which I put online a year or two after its print publication. In that case, I used AppCache for the offline functionality. AppCache is horrible, but this use case might be one of the few where it works well: a static book that’s never going to change. Cache invalidation is one of the worst parts of using AppCache so by not having any kinds of updates at all, I dodged that bullet. But when it came time for Resilient Web Design, a service worker was definitely the right technology. Still, I’ve got AppCache in there as well for the browsers that don’t yet support service workers. 2. What effect you you think Progressive Web Apps will have on content consuming and do you think these will take over the purpose of some Native Apps? The biggest effect that service workers could have is to change the expectations that people have about using the web, especially on mobile devices. Right now, people associate the web on mobile with long waits and horrible spammy overlays. Service workers can help solve that first part. If people then start adding sites to their home screen, that will be a great sign that the web is really holding its own. But I don’t think we should get too optimistic about that: for a user, there’s no difference between a prompt on their screen saying “add to home screen” and a prompt on their screen saying “download our app”—they’re equally likely to be dismissed because we’ve trained people to dismiss anything that covers up the content they actually came for. It’s entirely possible that websites could start taking over much of the functionality that previously was only possible in a native app. But I think that inertia and habit will keep people using native apps for quite some time. The big exception is in markets where storage space on devices is in short supply. That’s where the decision to install a native app isn’t taken likely (given the choice between your family photos and an app, most people will reject the app). The web can truly shine here if we build lightweight, performant services. Even in that situation, I’m still not sure how many people will end up adding those sites to their home screen (it might feel so similar to installing a native app that there may be some residual worry about storage space) but I don’t think that’s too much of a problem: if people get to a site via search or typing, that’s fine. I worry that the messaging around “progressive web apps” is perhaps over-fetishising the home screen. I don’t think that’s the real battlegr[...]
Mon, 06 Mar 2017 22:32:20 GMTI’m in New York. Again. This time it’s for Google’s AMP Conf, where I’ll be giving ‘em a piece of my mind on a panel. The conference starts tomorrow so I’ve had a day or two to acclimatise and explore. Seeing as Google are footing the bill for travel and accommodation, I’m staying at a rather nice hotel close to the conference venue in Tribeca. There’s live jazz in the lounge most evenings, a cinema downstairs, and should I request it, I can even have a goldfish in my room. Today I realised that my hotel sits in the apex of a triangle of interesting buildings: carrier hotels. Looming above my hotel is 32 Avenue of the Americas. On the outside the building looks like your classic Gozer the Gozerian style of New York building. Inside, the lobby features a mosaic on the ceiling, and another on the wall extolling the connective power of radio and telephone. The same architects also designed 60 Hudson Street, which has a similar Art Deco feel to it. Inside, there’s a cavernous hallway running through the ground floor but I can’t show you a picture of it. A security guard told me I couldn’t take any photos inside …which is a little strange seeing as it’s splashed across the website of the building. I walked around the outside of 60 Hudson, taking more pictures. Another security guard asked me what I was doing. I told her I was interested in the history of the building, which is true; it was the headquarters of Western Union. For much of the twentieth century, it was a world hub of telegraphic communication, in much the same way that a beach hut in Porthcurno was the nexus of the nineteenth century. For a 21st century hub, there’s the third and final corner of the triangle at 33 Thomas Street. It’s a breathtaking building. It looks like a spaceship from a Chris Foss painting. It was probably designed more like a spacecraft than a traditional building—it’s primary purpose was to withstand an atomic blast. Gone are niceties like windows. Instead there’s an impenetrable monolith that looks like something straight out of a dystopian sci-fi film. Brutalist on the outside, its interior is host to even more brutal acts of invasive surveillance. The Snowden papers revealed this AT&T building to be a centrepiece of the Titanpointe programme: They called it Project X. It was an unusually audacious, highly sensitive assignment: to build a massive skyscraper, capable of withstanding an atomic blast, in the middle of New York City. It would have no windows, 29 floors with three basement levels, and enough food to last 1,500 people two weeks in the event of a catastrophe. But the building’s primary purpose would not be to protect humans from toxic radiation amid nuclear war. Rather, the fortified skyscraper would safeguard powerful computers, cables, and switchboards. It would house one of the most important telecommunications hubs in the United States… Looking at the building, it requires very little imagination to picture it as the lair of villainous activity. Laura Poitras’s short film Project X basically consists of a voiceover of someone reading an NSA manual, some ominous background music, and shots of 33 Thomas Street looming in its oh-so-loomy way. A top-secret handbook takes viewers on an undercover journey to Titanpointe, the site of a hidden partnership. Narrated by Rami Malek and Michelle Williams, and based on classified NSA documents, Project X reveals the inner workings of a windowless skyscraper in downtown Manhattan. [...]
Fri, 03 Mar 2017 11:51:58 GMT
The new Clearleft website is live! Huzzah!
Many people have been working very hard on it and it’s all looking rather nice. But, as I said before, the site launch isn’t the end—it’s just the beginning.
There are some obvious next steps: fixing bugs, adding content, tweaking copy, and, oh yeah, that whole “testing with real users” thing. But there’s also an opportunity to have some fun on the front end. Now that the site is out there in the wild, there’s a real incentive to improve its performance.
Off the top of my head, these are some areas where I think we can play around:
@font-face. A smart font-loading strategy—at least for the body copy—could really help improve the perceived performance.
I’m looking forward to tinkering with some of those technologies. Each one should make an incremental improvement to the site’s performance. There are already some steps on the back-end that are making a big difference: upgrading to PHP7 and using HTTP2.
Now the real fun begins.
Wed, 22 Feb 2017 11:42:22 GMT
It has been exactly six years to the day since I instantiated this prediction:
The original URL for this prediction (www.longbets.org/601) will no longer be available in eleven years.
It is exactly five years to the day until the prediction condition resolves to a Boolean
If it resolves to
true, The Bletchly Park Trust will receive $1000.
If it resolves to
false, The Internet Archive will receive $1000.
Much as I would like Bletchley Park to get the cash, I’m hoping to lose this bet. I don’t want my pessimism about URL longevity to be rewarded.
So, to recap, the bet was placed on
It is currently
And the bet times out on
Tue, 21 Feb 2017 15:50:22 GMT
We have a tradition here at Clearleft of having the occasional lunchtime braindump. They’re somewhat sporadic, but it’s always a good day when there’s a “brown bag” gathering.
Today Richard gave us a quick brown bag talk on variable web fonts. He talked us through how these will work on the web and in operating systems. We got a good explanation of how these fonts would get designed—the type designer designs the “extreme” edges of size, weight, or whatever, and then the file format itself can extrapolate all the in-between stages. So, in theory, one single font file can hold hundreds, thousands, or hundreds of thousands of potential variations. It feels like switching from bitmap images to SVG—there’s suddenly much greater flexibility.
A variable font is a single font file that behaves like multiple fonts.
There were a couple of interesting tidbits that Rich pointed out…
While this is a new file format, there isn’t going to be a new file extension. These will be
.ttf files, and so by extension, they can be
.woff2 files too.
This isn’t some proposed theoretical standard: an unprecedented amount of co-operation has gone into the creation of this format. Adobe, Apple, Google, and Microsoft have all contributed. Agreement is the hardest part of any standards process. Once that’s taken care of, the technical solution follows quickly. So you can expect this to land very quickly and widely.
This technology is landing in web browsers before it lands in operating systems. It’s already available in the Safari Technology Preview. That means that for a while, the very best on-screen typography will be delivered not in eBook readers, but in web browsers. So if you want to deliver the absolute best reading experience, look to the web.
And here’s the part that I found fascinating…
We can currently use numbers for the
font-weight property in CSS. Those number values increment in hundreds: 100, 200, 300, etc. Now with variable fonts, we can start using integers: 321, 417, 183, etc. How fortuitous that we have 99 free slots between our current set of values!
Well, that’s no accident. The reason why the numbers were originally specced in increments of 100 back in 1996 was precisely so that some future sci-fi technology could make use of the ranges in between. That’s some future-friendly thinking! And as Håkon wrote:
One of the reasons we chose to use three-digit numbers was to support intermediate values in the future. And the future is now :)
Needless to say, variable fonts will be covered in Richard’s forthcoming book.
Fri, 17 Feb 2017 23:49:51 GMT
For the final day of the week-long masterclass, I had no agenda. This was a time for the students to work on their own projects, but I was there to answer any remaining questions they might have.
As I suspected, the people with the most interest and experience in development were the ones with plenty of questions. I was more than happy to answer them. With no specific schedule for the day, we were free to merrily go chasing down rabbit holes.
It was a fun day. The centrepiece was a most excellent lunch across the river at a really traditional seafood place.
At the very end of the day, after everyone else had gone, I sat down with Tiago to discuss how the week went. Overall, I was happy. I was nervous going into this masterclass—I had never done a whole week of teaching—but based on the feedback I got, I think I did okay. There were times when I got impatient, and I wish I could turn back the clock and erase those moments. I noticed that those moments tended to occur when it was time for hands-on-keyboards coding: “no, not like that—like this!” I need to get better at handling those situations. But when we working on paper, or having stand-up discussions, or when I was just geeking out on a particular topic, everything felt quite positive.
All in all, this week has been a great experience. I know it sounds like a cliché, but I felt it was a real honour and a privilege to be involved with the New Digital School. I’ve enjoyed doing hands-on teaching, and I’d like to do more of it.