These wonderfully realistic photo effects from Lynn are quite lovely!
This is a very nifty use of CSS gradients!
Human consciousness is the most astonishing thing, and most of it happened in deep time, beyond the reach of any writing and most legends. Human experience, in general, is prehistoric. And prehistoric experience was just as full as yours and mine: just as deeply felt, just as intelligent, just as real. What we know of it is mostly from durable artifacts and graves. I’m thinking of the woman found near the Snake River, buried at the end of the ice age with a perfectly crafted and unused stone knife tucked under her head. I’m thinking of the huge conical hats, beaten from single pieces of gold and inscribed with calendars, found north of the Alps. I’m thinking of Grave 8 at Vedbæk, where a woman held her premature baby on the spread wing of a swan. These are snapshot that experts can assemble into larger ideas, but what they tell all of us is that we’ve been people, not just humans, for a very long time.
I’ve really come to appreciate that performance isn’t just some property of a tool independent from its functionality or its feature set. Performance — in particular, being notably fast — is a feature in and of its own right, which fundamentally alters how a tool is used and perceived.
This is a fascinating look into how performance has knock-on effects beyond the obvious:
It’s probably fairly intuitive that users prefer faster software, and will have a better experience performing a given task if the tools are faster rather than slower.
What is perhaps less apparent is that having faster tools changes how users use a tool or perform a task.
This observation is particularly salient for web developers:
We have become accustomed to casually giving up factors of two or ten or more with our choices of tools and libraries, without asking if the benefits are worth it.
I want to deliver working, stable things. To do that, we need to understand what we are building, in and out, and that’s impossible to do in bloated, over-engineered systems.
This pairs nicely with Craig’s post on fast software.
Everyone is busy building stuff for right now, today, rarely for tomorrow. But it would be nice to also have stuff that lasts a little longer than that.
I just got a new laptop and I decided to go with fresh installs rather than a migration. This really resonates:
It just seems that nobody is interested in building quality, fast, efficient, lasting, foundational stuff anymore. Even when efficient solutions have been known for ages, we still struggle with the same problems: package management, build systems, compilers, language design, IDEs.
A case study from Twitter on the benefits of using a design system:
With component-based design, development becomes an act of composition, rather than constantly reinventing the wheel.
I think that could be boiled down to this:
Component-based design favours composition over invention.
I’m not saying that’s good. I’m not saying that’s bad. I’m also not saying it’s neutral.
Well, the clever CSS techniques just keep on comin’ from Trys—I’m learning so much from him!
I reckon it’s time for distressed type to make a comeback—CSS is ready for it.
I like the questions that the TELUS team ask about any potential components to be added to their design system:
- Is it on brand?
- Is it accessible?
- Has it been tested?
- Can it be reused?
They also have design principles.
Mandy’s experiments with text effects in CSS are kinda mindblowing—I can’t wait to see her at Ampersand at the end of the month!
During the Industrial Revolution, as new machines were invented to increase output, business owners often dreamed of an entirely automated workforce—of a factory without workers. I assume their workers had different dreams.
Ethan thinks through the ethical implications of increasing automation and efficiency über alles:
I can’t stop thinking about how much automation has changed our industry already. And I know the rate of automation is only going to accelerate from here.
At the very least, maybe it’s worth asking ourselves what might happen next.
Dave has curated a handy list of eponymous laws.
Browsers have had consistent scrolling behavior for years, even across vendors and platforms. There’s an established set of physics, and if you muck with the physics, you can assume you’re making some people sick.
Guidelines to consider before adding swooshy parallax effects:
- Respect the Physics
- Remember that We Call Them “Readers”
- Ask for Consent
Given all the work that goes into a powerful piece of journalism—research, interviews, writing, fact-checking, editing, design, coding, testing—is it really in our best interests to end up with a finished product that some people literally can’t bear to scroll through?
From the proceedings of the Electronic Computer Symposium in 1952, the remarkable Ida Rhodes describes a vision of the future…
My crystal ball reveals Mrs. Mary Jones in the living room of her home, most of the walls doubling as screens for projected art or information. She has just dialed her visiophone. On the wall panel facing her, the full colored image of a rare orchid fades, to be replaced by the figure of Mr. Brown seated at his desk. Mrs. Jones states her business: she wishes her valuable collection of orchid plants insured. Mr. Brown consults a small code book and dials a string of figures. A green light appears on his wall. He asks Mrs. Jones a few pertinent questions and types out her replies. He then pushes the start button. Mr. Brown fades from view. Instead, Mrs. Jones has now in front of her a set of figures relating to the policy in which she is interested. The premium rate and benefits are acceptable and she agrees to take out the policy. Here is Brown again. From a pocket in his wall emerges a sealed, addressed, and postage-metered envelope which drops into the mailing chute. It contains, says Brown, an application form completely filled out by the automatic computer and ready for her signature.
A massively in-depth study of boundary-breaking music, recreated through the web audio API.
- Steve Reich - It’s Gonna Rain (1965)
- Brian Eno - Ambient 1: Music for Airports, 2/1 (1978)
- Brian Eno - Discreet Music (1975)
You don’t have to be a musician or an expert in music theory to follow this guide. I’m neither of those things. I’m figuring things out as I go and it’s perfectly fine if you do too. I believe that this kind of stuff is well within reach for anyone who knows a bit of programming, and you can have a lot of fun with it even if you aren’t a musician.
One thing that definitely won’t hurt though is an interest in experimental music! This will get weird at times.
But, like, have you have ever really looked at your hand?
The latest piece from Jonathan Harris explores online life in all its mundanity, presenting it in an engaging way, all the while trying to make you feel bad for doing exactly what the site is encouraging you to do.