This is very handy! Export your data from Ev’s blog and then import it into a static site generator of your choice.
You may have noticed the recent movement of people looking to get off Medium. Most of us are motivated by a desire to own our content, have data portability and get more control over how/where our content is displayed and monetized. Most importantly many of us consider our blog/site to be a core part of our online identity and while Medium offers a fantastic writing experience it sacrifices other important values. Luckily there’s a modern approach to running your blog which aligns with these ideals, its called the JAMstack and its all around us.
This is a really great, balanced profile of the Indie Web movement. There’s thoughtful criticism alongside some well-deserved praise:
If we itemize the woes currently afflicting the major platforms, there’s a strong case to be made that the IndieWeb avoids them. When social-media servers aren’t controlled by a small number of massive public companies, the incentive to exploit users diminishes. The homegrown, community-oriented feel of the IndieWeb is superior to the vibe of anxious narcissism that’s degrading existing services.
Dave stops feeding his site’s visitors data to Google. I wish more people (and companies) would join him.
There’s also an empowering #indieweb feeling about owning your analytics too. I pay for the server my analytics collector runs on. It’s on my own subdomain. It’s mine.
After musing on newsletters, Craig shares how he’s feeling about Instagram and its ilk:
Instagram will only get more complex, less knowable, more algorithmic, more engagement-hungry in 2019.
I’ve found this cycle has fomented another emotion beyond distrust, one I’ve felt most acutely in 2018: Disdain? (Feels too loaded.) Disappointment? (Too moralistic.) Wariness? (Yes!) Yes — wariness over the way social networks and the publishing platforms they provide shift and shimmy beneath our feet, how the algorithms now show posts of X quality first, or then Y quality first, or how, for example, Instagram seems to randomly show you the first image of a multi-image sequence or, no wait, the second.8
I try to be deliberate, and social networks seem more and more to say: You don’t know what you want, but we do. Which, to someone who, you know, gives a shit, is pretty dang insulting.
Wariness is insidious because it breeds weariness. A person can get tired just opening an app these days. Unpredictable is the last thing a publishing platform should be but is exactly what these social networks become. Which can make them great marketing tools, but perhaps less-than-ideal for publishing.
This is something I struggle to articulate to friends who are suffering because they feel tied to silos like Facebook and Twitter:
What self-publishing does is provide me a choice, which makes me feel good. I feel like I can step away from platforms at will and I don’t feel as shackled as I have done previously.
Harsh but fair words about Google AMP.
Google has built their entire empire on the backs of other people’s effort. People use Google to find content on the web. Google is just a doorman, not the destination. Yet the search engine has epic delusions of grandeur and has started to believe they are the destination, that they are the gatekeepers of the web, that they should dictate how the web evolves.
Take your dirty paws off our web, Google. It’s not your plaything, it belongs to everyone.
I’m telling you this stuff is often too important and worthy to be owned by an algorithm and lost in the stream.
It is common to refer to universally popular social media sites like Facebook, Instagram, Snapchat, and Pinterest as “walled gardens.” But they are not gardens; they are walled industrial sites, within which users, for no financial compensation, produce data which the owners of the factories sift and then sell. Some of these factories (Twitter, Tumblr, and more recently Instagram) have transparent walls, by which I mean that you need an account to post anything but can view what has been posted on the open Web; others (Facebook, Snapchat) keep their walls mostly or wholly opaque. But they all exercise the same disciplinary control over those who create or share content on their domain.
Professor Alan Jacobs makes the case for the indie web:
We need to revivify the open Web and teach others—especially those who have never known the open Web—to learn to live extramurally: outside the walls.
What do I mean by “the open Web”? I mean the World Wide Web as created by Tim Berners-Lee and extended by later coders. The open Web is effectively a set of protocols that allows the creating, sharing, and experiencing of text, sounds, and images on any computer that is connected to the Internet and has installed on it a browser that can interpret information encoded in conformity with these protocols.
This resonated strongly with me:
To teach children how to own their own domains and make their own websites might seem a small thing. In many cases it will be a small thing. Yet it serves as a reminder that the online world does not merely exist, but is built, and built to meet the desires of certain very powerful people—but could be built differently.
A thorough run-down of the whys and wherefores of being part of the indie web, from Chris.
I write to understand and remember. Sometimes that will be interesting to others, often it won’t be.
But it’s going to happen. Here, on my own site.
Medium, Twitter, Facebook and others are edge services for your content … Your platform is the origin.
Here’s the talk I gave at Mozilla’s View Source event. I really enjoyed talking about the indie web, both from the big-picture view and the nitty gritty.
In these times of centralised services like Facebook, Twitter, and Medium, having your own website is downright disruptive. If you care about the longevity of your online presence, independent publishing is the way to go. But how can you get all the benefits of those third-party services while still owning your own data? By using the building blocks of the Indie Web, that’s how!
When Aaron talks, I listen. This time he’s talking about digital (and analogue) preservation, and how that can clash with licensing rules.
It is time for the sector to pick a fight with artists, and artist’s estates and even your donors. It is time for the sector to pick a fight with anyone that is preventing you from being allowed to have a greater — and I want to stress greater, not total — license of interpretation over the works which you are charged with nurturing and caring for.
It is time to pick a fight because, at least on bad days, I might even suggest that the sector has been played. We all want to outlast the present, and this is especially true of artists. Museums and libraries and archives are a pretty good bet if that’s your goal.
Whereas before content used to be spread out on numerous domains in numerous ways, content now mostly makes its home on the three domains that are most hostile to thoughtful human discussion: Twitter, Medium, and Facebook.
So what? you may ask..
Think about how many times you’ve tweeted. Or written or commented on a Facebook post. Or started a Medium draft. These are all our words, locked in proprietary platforms that controls not only how our message is displayed, but how we write it, and even more worrying, how we think about it.
Fortunately there’s a back-up on the Internet Archive, but this tale of Google’s overnight destruction of fourteen years of writing is truly infuriating.
When we use their services, we trust that companies like Google will preserve some of the most personal things we have to share. They trust that we will not read the fine print.
When you pitch your tent in someone else’s walled garden, they can tear down your home whenever they want.
Two weeks ago, writer and artist Dennis Cooper was checking his Gmail when something peculiar happened: the page was refreshed and he was notified that his account had been deactivated – along with the blog that he’d maintained for 14 years.
This is why the Indie Web exists.
His advice to other artists who work predominantly online is to maintain your own domain and back everything up.
Dan Gillmor and Kevin Marks report on the Decentralized Web Summit:
Kahle framed the gathering with three key questions: How can we build a reliable decentralized web? How can we make it more private? And how do we keep it fun and evolving?
It is a sad and beautiful world wide web:
The technology that let people make web sites never went away. You can still set up a site as if it were 1995. But culture changes, as do expectations. It takes a certain set of skills to create your own web site, populate it with cool stuff, set up a web server, and publish your own cool-stuff web pages. I would argue that those skills should be a basic part of living in a transparent and open culture where individuals are able to communicate on an equal field of play. Some fellow nerds would argue the same. But most everyone else, statistically, just uses Facebook and plays along.
Paul Ford shines a light on the solution:
Standing against this tide of centralization is the indie web movement. Perhaps “movement” is too strong—it’s more an aesthetic of independence and decentralization. The IndieWebCamp web page states: “When you post something on the web, it should belong to you, not a corporation.” You should own your information and profit from it. You should have your own servers. Your destiny, which you signed over to Facebook in order to avoid learning a few lines of code, would once again be your own.
Beautiful, beautiful writing:
We could still live in that decentralized world, if we wanted to. Despite the rise of the all-seeing database, the core of the internet remains profoundly open. I can host it from my apartment, on a machine that costs $35. You can link to me from your site. Just the two of us. This is an age of great enterprise, no time to think small. Yet whatever enormous explosion tears through our digital world next will come from exactly that: an individual recognizing the potential of the small, where others see only scale.
Jeffrey’s right. Instagram’s new deal with developers is openly hostile. It probably means the end of OwnYourGram in its current form …a service whose existence is frankly the only reason I’m able to use Instagram at all.