Saturday, December 2nd, 2017
Thursday, November 23rd, 2017
Brad always said that carousels were way to stop people beating each other up in meetings. I like the way Heydon puts it:
Carousels (or ‘content sliders’) are like men. They are not literally all bad — some are even helpful and considerate. But I don’t trust anyone unwilling to acknowledge a glaring pattern of awfulness. Also like men, I appreciate that many of you would rather just avoid dealing with carousels, but often don’t have the choice. Hence this article.
Wednesday, November 22nd, 2017
It had been a while since we had a movie night at Clearleft so I organised one for last night. We usually manage to get through two movies, and there’s always a unifying theme decided ahead of time.
For last night, I decided that the broad theme would be …transport. But then, through voting on Slack, people could decide what the specific mode of transport would be. The choices were:
- getaway car,
- truck, or
Nobody voted for submarines. That’s a shame, but in retrospect it’s easy to understand—submarine films aren’t about transport at all. Quite the opposite. Submarine films are about being trapped in a metal womb/tomb (and many’s the spaceship film that qualifies as a submarine movie).
There were some votes for taxis and trucks, but the getaway car was the winner. I then revealed which films had been pre-selected for each mode of transport.
- Collateral, Michael Mann, 2004 (86% 🍅)
- Night On Earth, Jim Jarmusch, 1991 (73% 🍅)
- Taxi Driver, Martin Scorsese, 1976 (99% 🍅)
- Baby Driver, Edgar Wright, 2017 (93% 🍅)
- Wheelman, Jeremy Rush, 2017 (88% 🍅)
- Drive, Nicolas Winding Refn, 2011 (93% 🍅)
- The Driver, Walter Hill, 1978 (80% 🍅)
- Below, David Twohy, 2002 (64% 🍅)
- Crimson Tide, Tony Scott, 1995 (87% 🍅)
- The Hunt For Red October, John McTiernan, 1990 (86% 🍅)
I thought Baby Driver would be a shoe-in for the first film, but enough people had already seen it quite recently to put it out of the running. We watched Wheelman instead, which was like Locke meets Drive.
So what would the second film be?
Well, some of those films in the full list could potentially fall into more than one category. The taxi in Collateral is (kinda) being used as a getaway car. And if you expand the criterion to getaway vehicle, then Furiosa’s war rig surely counts, right?
Okay, we were just looking for an excuse to watch Fury Road again. I mean, c’mon, it was the black and chrome edition! I had the great fortune of seeing that on the big screen a while back and I’ve been raving about it ever since. Besides, you really don’t need an excuse to rewatch Fury Road. I loved it the first time I saw it, and it just keeps getting better and better each time. The editing! The sound! The world-building!
With every viewing, it feels more and more like the film for our time. It may have been a bit of stretch to watch it under the thematic umbrella of getaway vehicles, but it’s a getaway for our current political climate: instead of the typical plot involving a gang driving at full tilt from a bank heist, imagine one where the gang turns around, ousts the bankers, and replaces the whole banking system with a matriarchal community.
“Hope is a mistake”, Max mansplains (maxplains?) to Furiosa at one point. He’s wrong. Judicious hope is what drives us forward (or, this case, back …to the citadel). Watching Fury Road again, I drew hope from the character of Nux. An alt-warboy in thrall to a demagogue and raised on a diet of fake news (Valhalla! V8!) can not only be turned by tenderness, he can become an ally to those working for a better world.
Sunday, November 19th, 2017
A history of hypertext, from the memex to HyperCard.
Wednesday, October 11th, 2017
James talks about automation and understanding.
Just because a technology – whether it’s autonomous vehicles, satellite communications, or the internet – has been captured by capital and turned against the populace, doesn’t mean it does not retain a seed of utopian possibility.
Monday, September 11th, 2017
I like Chris’s list of criteria for the nebulous role of senior developer:
- A senior front end developer has experience.
- A senior front-end developer has a track record of good judgment.
- A senior developer has positive impact beyond the code.
- A senior developer is helpful, not all-knowing.
- A senior front-end developer is a force multiplier.
Friday, July 14th, 2017
This resonates a lot—we’ve been working on something similar at Clearleft, for very similar reasons:
We rode the folk knowledge train until it became clear that it was totally unscaleable and we struggled to effectively commute know-how to the incoming brains.
At Made By Many, they’ve sliced it into three categories: Design, Technology, and Product Management & Strategy. At Clearleft, we’re trying to create a skills matrix for each of these disciplines: UX, UI, Dev, Research, Content Strategy, and Project Management. I’m working on the Dev matrix. I’ll share it once we’ve hammered it into something presentable. In the meantime, it’s good to see exactly the same drivers are at work at Made By Many:
The levels give people a scaffold onto which they can project their personalised career path, reflecting their progression, and facilitating professional development at every stage.
Monday, July 10th, 2017
I like words. I like the way they can be tethered together to produce a satisfying sentence.
Jessica likes words even more than I do (that’s why her website is called “wordridden”). She studied linguistics and she’s a translator by trade—German into English. Have a read of her post about translating Victor Klemperer to get an inkling of how much thought and care she puts into it.
Given the depth of enquiry required for a good translation, I was particularly pleased to read this remark by John Le Carré:
No wonder then that the most conscientious editors of my novels are not those for whom English is their first language, but the foreign translators who bring their relentless eye to the tautological phrase or factual inaccuracy – of which there are far too many. My German translator is particularly infuriating.
That’s from an article called Why we should learn German, but it’s really about why we should strive for clarity in our use of language:
Clear language — lucid, rational language — to a man at war with both truth and reason, is an existential threat. Clear language to such a man is a direct assault on his obfuscations, contradictions and lies. To him, it is the voice of the enemy. To him, it is fake news. Because he knows, if only intuitively, what we know to our cost: that without clear language, there is no standard of truth.
It reminds me of one of my favourite Orwell essays, Politics and the English Language:
Political language — and with variations this is true of all political parties, from Conservatives to Anarchists — is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind.
But however much I agree with Le Carré’s reprise of Orwell’s call for clarity, I was brought up short by this:
Every time I hear a British politician utter the fatal words, “Let me be very clear”, these days I reach for my revolver.
Le Carré’s text was part of a speech given in Berlin, where everyone would get the reference to the infamous Nazi quote—
Wenn ich Kultur höre … entsichere ich meinen Browning—and I’m sure it was meant with a sly wink. But words matter.
Words are powerful. Words can be love and comfort — and words can be weapons.
Sunday, June 18th, 2017
A great one-page intro to microformats (h-card in particular), complete with a parser that exports JSON. Bookmark this for future reference.
Wednesday, March 22nd, 2017
Saturday, March 18th, 2017
Monday, March 6th, 2017
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.
Tuesday, February 21st, 2017
Mike lists five tool skills he looks for in a designer (not that every designer needs to have all five):
- Visual Design & Animation
- Interaction Design
- Getting Things Done
Swap the first one out for some markup and CSS skills, and I reckon you’ve got a pretty good list for developers too.
Tim Bray lists the options available to a technically-minded person thinking about their career path …but doesn’t mention the option of working at an agency.
Some good long-zoom observations in here:
The bad news that it’s a lot of work. We’re a young profession and we’re still working out our best practices, so the ground keeps changing under you; it doesn’t get easier as the decades go by.
The good news is that it doesn’t get harder either. Once you learn to stop expecting your knowledge to stay fresh, the pace of innovation doesn’t feel to me like it’s much faster (or slower) now than it was in 1987 or 1997 or 2007. More good news: The technology gets better. Seriously, we are so much better at building software now than we used to be in any of those other years ending in 7.
Tuesday, January 31st, 2017
The ‘Credit Card Number’ Field Must Allow and Auto-Format Spaces (80% Don’t) - Articles - Baymard Institute
A deep dive into formatting credit card numbers with spaces in online forms.
Sunday, October 30th, 2016
If you have to use a carousel, it doesn’t have to be complicated. Chris runs through some of the options out there. It turns out you can get surprisingly far with CSS alone.
Sunday, October 23rd, 2016
Dave’s Kickstarter project looks like it could be very handy on Fridays a beer o’clock in the Clearleft office.
Saturday, June 25th, 2016
Tuesday, May 3rd, 2016
In this English language alternative to latitude and longitude coordinates, the Clearleft office is located at:
Thursday, March 24th, 2016
Everything you never wanted to know about conveying elevation information on maps, delivered in Peter’s always-entertaining style and illustrated with interactive examples.