Our footpaths converged around the same 5-10 platforms, each with its own particular manner of communication. I have learned, unintentionally, to code switch every time I craft a new post. It’s exhausting, trying to keep track of all those unspoken rules shaped by years of use.
But I don’t have rules like that on my blog. I turned off stats. There are no comments. No likes.
Huh. I don’t think I ever thought about nesting media queries …and yet I’m pleasantly surprised that it works!
Removing
mediasupport from HTML video was a mistake.
Damn right! It was basically Hixie throwing a strop, trying to sabotage responsive images. Considering how hard it is usually to remove a shipped feature from browsers, it’s bizarre that a good working feature was pulled out of production.
In 1990, the science fiction writer Douglas Adams produced a “fantasy documentary” for the BBC called Hyperland. It’s a magnificent paleo-futuristic artifact, rich in sideways predictions about the technologies of tomorrow.
I remember coming across a repeating loop of this documentary playing in a dusty corner of a Smithsonian museum in Washington DC. Douglas Adams wasn’t credited but I recognised his voice.
Hyperland aired on the BBC a full year before the World Wide Web. It is a prophecy waylaid in time: the technology it predicts is not the Web. It’s what William Gibson might call a “stub,” evidence of a dead node in the timeline, a three-point turn where history took a pause and backed out before heading elsewhere.
Here, Claire L. Evans uses Adams’s documentary as an opening to dive into the history of hypertext starting with Bush’s Memex, Nelson’s Xanadu and Engelbart’s oNLine System. But then she describes some lesser-known hypertext systems…
In 1985, the students at Brown who encountered Intermedia had never seen anything like it before in their lives. The system laid a world of information at their fingertips, saved them hours at the library, and helped them work through tangles of thought.
2010 was quite a year:
And exactly three weeks after Jeremy Keith’s HTML5 For Web Designers was first published, “Responsive Web Design” went live in A List Apart.
Nothing’s been quite the same since.
I remember being at that An Event Apart in Seattle where Ethan first unveiled the phrase and marvelling at how well everything just clicked into place, perfectly capturing the zeitgeist. I was in. 100%.
Progressive disclosure interface patterns categorised and evaluated:
I really like the hypertext history invoked in this article.
The piece finishes with a great note on the MacNamara fallacy:
Everyone thinks metrics let us measure results. But, actually, they don’t. They measure only what they are measuring. Engagement, for example, is not something that can be measured, so we use an analogue for it. Time on page. Or clicks.
We often end up measuring what is quick, cheap, and easy to measure. Therefore, few organizations regularly conduct usability testing or customer-satisfaction surveys, but lots use analytics.
Even today, organizations often use clicks as a measure of engagement. So, all too often, they design user interfaces to generate clicks, so the system can measure them.
I’d watch this game show:
Welcome to the first installment of a new series on Typewolf, where I’ll be identifying the fonts used in popular things. The focus here is on anything you might encounter in contemporary visual culture—movie posters, TV shows, book covers, etc.
I have to admit, I don’t think I even knew of the existence of the playsinline attribute on the video element. Here, Chris runs through all the attributes you can put in there.
An absolutely gorgeous piece of hypermedia!
Data visualisations and interactive widgets enliven this maze of mathematics. Dig deep—you may just uncover the secret passages that join these concepts together.
Lynn gives a step-by-step walkthrough of the latest amazing redesign of her website. There’s so much joy and craft in here, with real attention to detail—I love it!
On the internet, everything can appear equally legitimate. Breitbart resembles the BBC. The fictitious Protocols of the Elders of Zion look as valid as an ADL report. And the rantings of a lunatic seem as credible as the findings of a Nobel Prize winner. We have lost, it seems, a shared sense of the basic facts upon which democracy depends.
Aaron outlines some sensible strategies for serving up images, including using the Cache API from your service worker script.
Craig compares and contrasts books to “attention monsters”:
That is, any app / service / publication whose business is predicated on keeping a consumer engaged and re-engaged for the benefit of the organization (often to the detriment of the mental and physical health of the user), dozens if not hundreds or thousands of times a day.
A thousand likes doesn’t look much bigger than one, and this becomes important when considering the form of negativity on social media.
There is no feature for displeasure on social media, so if a person wants to express that, they must write. Complaints get wrapped in language, and language is always specific.
Here’s a clever tiny lesson from Dave and Brad: you can use prefers-reduced-motion in the media attribute of the source element inside picture.
I linked to this a while back but now this great half hour documentary by Jessica Yu is ready and you can watch the whole thing online: Tim Berners-Lee, the birth of the web, and where the web has gone since.
In the scenes describing the early web, there’s footage of the recreated Line Mode Browser—how cool is that‽
On the 50th anniversary of Vannevar Bush’s As We May Think, Tim Berners-Lee delivered this address in 1995.
To a large part we have MEMEXes on our desks today. We have not yet seen the wide scale deployment of easy human interfaces for editing hypertext and making links. (I find this constantly frustrating, but always assume will be cured by cheap commercial products within the year.)
I think Cathy might’ve buried the lede:
The knock on effect of this was removing media queries. As I moved towards some of the more modern features of CSS the need to target specific screen sizes with unique code was removed.
But on the topic of Sass, layout is now taken care of with CSS grid, variables are taken care of with CSS custom properties, and mixins for typography are taken care of with calc().
Personally, I’ve always found the most useful feature of Sass to simply be that you can have lots of separate Sass files that get combined into one CSS file—very handy for component libraries.
‘Sfunny, this exact use-case (styling a profile component) came up on a project recently and I figured that CSS grid would be the right tool for the job.
A step-by-step guide to wrapping up a self-contained bit of functionality (a camera, in this case) into a web component.
Mind you, it would be nice if there were some thought given to fallbacks, like say:
<simple-camera>
<input type="file" accept="image/*">
</simple-camera>