Tags: ide



Sunday, June 28th, 2020

Friday, June 19th, 2020

Monday, June 1st, 2020

Global and Component Style Settings with CSS Variables — Sara Soueidan

Sara shares how she programmes with custom properties in CSS. It sounds like her sensible approach aligns quite nicely with Andy’s CUBE CSS methodology.

Oh, and she’s using Fractal to organise her components:

I’ve been using Fractal for a couple of years now. I chose it over other pattern library tools because it fit my needs perfectly — I wanted a tool that was unopinionated and flexible enough to allow me to set up and structure my project the way I wanted to. Fractal fit the description perfectly because it is agnostic as to the way I develop or the tools I use.

Friday, May 29th, 2020

A Guide to the Responsive Images Syntax in HTML | CSS-Tricks

Chris has put together one of his indispensable deep dives, this time into responsive images. I can see myself referring back to this when I need to be reminded of the syntax of srcset and sizes.

Saturday, May 23rd, 2020

Lightning-Fast Web Performance: an online lecture series from Scott Jehl

Scott is brilliant, therefore by the transitive property, his course on web performance must also be brilliant.

Wednesday, May 13th, 2020

Modern CSS Solutions

…for old CSS problems.

Very handy!

Monday, May 11th, 2020

Creating an Accessible Range Slider with CSS | a11y with Lindsey

If you want an accessible slider component, the trick isn’t to use a whole load of JavaScript. The trick is to use the native input type="range" and then figure out the CSS you need (which, alas, involves lots of vendor prefixes).

Sunday, May 3rd, 2020


What a time, as they say, to be alive. The Situation is awful in so many ways, and yet…

In this crisis, there is also opportunity—the opportunity to sit on the sofa, binge-watch television and feel good about it! I mean just think about it: when in the history of our culture has there been a time when the choice between running a marathon or going to the gym or staying at home watching TV can be resolved with such certitude? Stay at home and watch TV, of course! It’s the only morally correct choice. Protect the NHS! Save lives! Gorge on box sets!

What you end up watching doesn’t really matter. If you want to binge on Love Island or Tiger King, go for it. At this moment in time, it’s all good.

I had an ancient Apple TV device that served me well for years. At the beginning of The Situation, I decided to finally upgrade to a more modern model so I could get to more streaming services. Once I figured out how to turn off the unbelievably annoying sounds and animations, I got it set up with some subscription services. Should it be of any interest, here’s what I’ve been watching in order to save lives and protect the NHS…

Watchmen, Now TV

Superb! I suspect you’ll want to have read Alan Moore’s classic book to fully enjoy this series set in the parallel present extrapolated from that book’s ‘80s setting. Like that book, what appears to be a story about masked vigilantes is packing much, much deeper themes. I have a hunch that if Moore himself were forced to watch it, he might even offer some grudging approval.

Devs, BBC iPlayer

Ex Machina meets The Social Network in Alex Garland’s first TV show. I was reading David Deutsch while I was watching this, which felt like getting an extra bit of world-building. I think this might have worked better in the snappier context of a film, but it makes for an enjoyable saunter as a series. Style outweighs substance, but the style is strong enough to carry it.

Breeders, Now TV

Genuinely hilarious. Watch the first episode and see how many times you laugh guiltily. It gets a bit more sentimental later on, but there’s a wonderfully mean streak throughout that keeps the laughter flowing. If you are a parent of small children though, this may feel like being in a rock band watching Spinal Tap—all too real.

The Mandalorian, Disney Plus

I cannot objectively evaluate this. I absolutely love it, but that’s no surprise. It’s like it was made for me. The execution of each episode is, in my biased opinion, terrific. Read what Nat wrote about it. I agree with everything they said.

Westworld, Now TV

The third series is wrapping up soon. I’m enjoying this series immensely. It’s got a real cyberpunk sensibility; not in a stupid Altered Carbon kind of way, but in a real Gibsonian bit of noirish fun. Like Devs, it’s not as clever as it thinks it is, but it’s throroughly entertaining all the same.

Tales From The Loop, Amazon Prime

The languid pacing means this isn’t exactly a series of cliffhangers, but it will reward you for staying with it. It avoids the negativity of Black Mirror and instead maintains a more neutral viewpoint on the unexpected effects of technology. At its best, it feels like an updated take on Ray Bradbury’s stories of smalltown America (like the episode directed by Jodie Foster featuring a cameo by Shane Carruth—the time traveller’s time traveller).

Years and Years, BBC iPlayer

A near-future family and political drama by Russell T Davies. Subtlety has never been his strong point and the polemic aspects of this are far too on-the-nose to take seriously. Characters will monologue for minutes while practically waving a finger at you out of the television set. But it’s worth watching for Emma Thompson’s performance as an all-too believable populist politician. Apart from a feelgood final episode, it’s not light viewing so maybe not the best quarantine fodder.

For All Mankind, Apple TV+

An ahistorical space race that’s a lot like Mary Robinette Kowal’s Lady Astronaut books. The initial premise—that Alexei Leonov beats Neil Armstrong to a moon landing—is interesting enough, but it really picks up from episode three. Alas, the baton isn’t really kept up for the whole series; it reverts to a more standard kind of drama from about halfway through. Still worth seeing though. It’s probably the best show on Apple TV+, but that says more about the paucity of the selection on there than it does about the quality of this series.

Avenue Five, Now TV

When it’s good, this space-based comedy is chucklesome but it kind of feels like Armando Iannucci lite.

Picard, Amazon Prime

It’s fine. Michael Chabon takes the world of Star Trek in some interesting directions, but it never feels like it’s allowed to veer too far away from the established order.

The Outsider, Now TV

A tense and creepy Stephen King adaption. I enjoyed the mystery of the first few episodes more than the later ones. Once the supernatural rules are established, it’s not quite as interesting. There are some good performances here, but the series gives off a vibe of believing it’s more important than it really is.

Better Call Saul, Netflix

The latest series (four? I’ve lost count) just wrapped up. It’s all good stuff, even knowing how some of the pieces need to slot into place for Breaking Bad.

Normal People, BBC iPlayer

I heard this was good so I went to the BBC iPlayer app and hit play. “Pretty good stuff”, I thought after watching that episode. Then I noticed that it said Episode Twelve. I had watched the final episode first. Doh! But, y’know, watching from the start, the foreknowledge of how things turn out isn’t detracting from the pleasure at all. In fact, I think you could probably watch the whole series completely out of order. It’s more of a tone poem than a plot-driven series. The characters themselves matter more than what happens to them.

Hunters, Amazon Prime

A silly 70s-set jewsploitation series with Al Pacino. The enjoyment comes from the wish fulfillment of killing nazis, which would be fine except for the way that the holocaust is used for character development. The comic-book tone of the show clashes very uncomfortably with that subject matter. The Shoah is not a plot device. This series feels like what we would get if Tarentino made television (and not in a good way).

Saturday, April 11th, 2020

Jeremy Keith ‘We’ve ruined the Web. Here’s how we fix it.’ - This is HCD

Did you hear the one about two Irishmen on a podcast?

I really enjoyed this back-and-forth discussion with Gerry on performance, waste, and more. We agreed on much, but we also clashed sometimes.

Monday, April 6th, 2020

This Video Has {{ viewcount }} Views - YouTube

Tom’s videos are so good! Did you see his excellent in-depth piece on copyright?

This one is all about APIs and the golden age of Web 2.0 when we were free to create mashups.

It pairs nicely with a piece by another Tom from a couple of years back on the joy of Twitterbots.

This Video Has 14,892,963 Views

Thursday, April 2nd, 2020

Sight and Sound: The Cinema of Walter Murch on Vimeo

I enjoyed this documentary on legendary sound designer and editor Walter Murch. Kinda makes me want to rewatch The Conversation and The Godfather.

Wednesday, April 1st, 2020

Home (BBC film of J. G. Ballard’s The Enormous Space) - YouTube

Here’s a BBC adaption of that J.G. Ballard short story I recorded. It certainly feels like a story for our time.

Home (BBC film of J. G. Ballard's The Enormous Space)

Tuesday, March 24th, 2020

Oh, embed!

I wrote yesterday about how messing about on your own website can be a welcome distraction. I did some tinkering with adactio.com on the weekend that you might be interested in.

Let me set the scene…

I’ve started recording and publishing a tune a day. I grab my mandolin, open up Quicktime and make a movie of me playing a jig, a reel, or some other type of Irish tune. I include a link to that tune on The Session and a screenshot of the sheet music for anyone who wants to play along. And I embed the short movie clip that I’ve uploaded to YouTube.

Now it’s not the first time I’ve embedded YouTube videos into my site. But with the increased frequency of posting a tune a day, the front page of adactio.com ended up with multiple embeds. That is not good for performance—my Lighthouse score took quite a hit. Worst of all, if a visitor doesn’t end up playing an embedded video, all of the markup, CSS, and JavaScript in the embedded iframe has been delivered for nothing.

Meanwhile over on The Session, I’ve got a strategy for embedding YouTube videos that’s better for performance. Whenever somebody posts a link to a video on YouTube, the thumbnail of the video is embedded. Only when you click the thumbnail does that image get swapped out for the iframe with the video.

That’s what I needed to do here on adactio.com.

First off, I should explain how I’m embedding things generally ‘round here. Whenever I post a link or a note that has a URL in it, I run that URL through a little PHP script called getEmbedCode.php.

That code checks to see if the URL is from a service that provides an oEmbed endpoint. A what-Embed? oEmbed!

oEmbed is like a minimum viable read-only API. It was specced out by Leah and friends years back. You ping a URL like this:


In this case http://example.com/oembed is the endpoint and url is the value of a URL from that provider. Here’s a real life example from YouTube:


So https://www.youtube.com/oembed is the endpoint and url is the address of any video on YouTube.

You get back some JSON with a pre-defined list of values like title and html. That html payload is the markup for your embed code.

By default, YouTube sends back markup like this:

allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture"

But now I want to use an img instead of an iframe. One of the other values returned is thumbnail_url. That’s the URL of a thumbnail image that looks something like this:


In fact, once you know the ID of a YouTube video (the ?v= bit in a YouTube URL), you can figure out the path to multiple images of different sizes:

(Although that last one—maxresdefault.jpg—might not work for older videos.)

Okay, so I need to extract the ID from the YouTube URL. Here’s the PHP I use to do that:

parse_str(parse_url($url, PHP_URL_QUERY), $arguments);
$id = $arguments['v'];

Then I can put together some HTML like this:

<a class="videoimglink" href="'.$url.'">
<img width="100%" loading="lazy"
https://i.ytimg.com/vi/'.$id.'/mqdefault.jpg 320w,
https://i.ytimg.com/vi/'.$id.'/hqdefault.jpg 480w,
https://i.ytimg.com/vi/'.$id.'/maxresdefault.jpg 1280w

Now I’ve got a clickable responsive image that links through to the video on YouTube. Time to enhance. I’m going to add a smidgen of JavaScript to listen for a click on that link.

Over on The Session, I’m using addEventListener but here on adactio.com I’m going to be dirty and listen for the event directly in the markup using the onclick attribute.

When the link is clicked, I nuke the link and the image using innerHTML. This injects an iframe where the link used to be (by updating the innerHTML value of the link’s parentNode).

this.parentNode.innerHTML='<iframe src=https://www.youtube-nocookie.com/embed/'.$id.'?autoplay=1></iframe>'"

But notice that I’m not using the default YouTube URL for the iframe. That would be:


Instead I’m swapping out the domain youtube.com for youtube-nocookie.com:


I can’t remember where I first came across this undocumented parallel version of YouTube that has, yes, you guessed it, no cookies. It turns out that, not only is the default YouTube embed code bad for performance, it is—unsurprisingly—bad for privacy too. So the youtube-nocookie.com domain can protect your site’s visitors from intrusive tracking. Pass it on.

Anyway, I’ve got the markup I want now:

<a class="videoimglink" href="https://www.youtube.com/watch?v=-eiqhVmSPcs"
this.parentNode.innerHTML='<iframe src=https://www.youtube-nocookie.com/embed/-eiqhVmSPcs?autoplay=1></iframe>'">
<img width="100%" loading="lazy"
alt="The Banks Of Lough Gowna (jig) on mandolin"
https://i.ytimg.com/vi/-eiqhVmSPcs/mqdefault.jpg 320w,
https://i.ytimg.com/vi/-eiqhVmSPcs/hqdefault.jpg 480w,
https://i.ytimg.com/vi/-eiqhVmSPcs/maxresdefault.jpg 1280w

The functionality is all there. But I want to style the embedded images to look more like playable videos. Time to break out some CSS (this is why I added the videoimglink class to the YouTube link).

.videoimglink {
    display: block;
    position: relative;

I’m going to use generated content to create a play button icon. Because I can’t use generated content on an img element, I’m applying these styles to the containing .videoimglink a element.

.videoimglink::before {
    content: '▶';

I was going to make an SVG but then I realised I could just be lazy and use the unicode character instead.

Right. Time to draw the rest of the fucking owl:

.videoimglink::before {
    content: '▶';
    display: inline-block;
    position: absolute;
    background-color: var(--background-color);
    color: var(--link-color);
    border-radius: 50%;
    width: 10vmax;
    height: 10vmax;
    top: calc(50% - 5vmax);
    left: calc(50% - 5vmax);
    font-size: 6vmax;
    text-align: center;
    text-indent: 1vmax;
    opacity: 0.5;

That’s a bunch of instructions for sizing and positioning. I’d explain it, but that would require me to understand it and frankly, I’m not entirely sure I do. But it works. I think.

With a translucent play icon positioned over the thumbnail, all that’s left is to add a :hover style to adjust the opacity:

.videoimglink:focus::before {
    opacity: 0.75;

Wheresoever thou useth :hover, thou shalt also useth :focus.

Okay. It’s good enough. Ship it!

The Banks Of Lough Gowna (jig) on mandolin

If you embed YouTube videos on your site, and you’d like to make them more performant, check out this custom element that Paul made: Lite YouTube Embed. And here’s a clever technique that uses the srcdoc attribute to get a similar result (but don’t forget to use the youtube-nocookie.com domain).

Friday, March 20th, 2020

What Does `playsinline` Mean in Web Video? | CSS-Tricks

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.

Wednesday, March 11th, 2020

Networked information services: The world-wide web [PDF]

A 1992 paper by Tim Berners-Lee, Robert Cailliau, and Jean-Françoise Groff.

The W3 project is not a research project, but a practical plan to implement a global information system.

A curl in every port

A few years back, Zach Bloom wrote The History of the URL: Path, Fragment, Query, and Auth. He recently expanded on it and republished it on the Cloudflare blog as The History of the URL. It’s well worth the time to read the whole thing. It’s packed full of fascinating tidbits.

In the section on ports, Zach says:

The timeline of Gopher and HTTP can be evidenced by their default port numbers. Gopher is 70, HTTP 80. The HTTP port was assigned (likely by Jon Postel at the IANA) at the request of Tim Berners-Lee sometime between 1990 and 1992.

Ooh, I can give you an exact date! It was January 24th, 1992. I know this because of the hack week in CERN last year to recreate the first ever web browser.

Kimberly was spelunking down the original source code, when she came across this line in the HTUtils.h file:

#define TCP_PORT 80 /* Allocated to http by Jon Postel/ISI 24-Jan-92 */

We showed this to Jean-François Groff, who worked on the original web technologies like libwww, the forerunner to libcurl. He remembers that day. It felt like they had “made it”, receiving the official blessing of Jon Postel (in the same RFC, incidentally, that gave port 70 to Gopher).

Then he told us something interesting about the next line of code:

#define OLD_TCP_PORT 2784 /* Try the old one if no answer on 80 */

Port 2784? That seems like an odd choice. Most of us would choose something easy to remember.

Well, it turns out that 2784 is easy to remember if you’re Tim Berners-Lee.

Those were the last four digits of his parents’ phone number.

The History of the URL

This is a wonderful deep dive into all the parts of a URL:


There’s a lot of great DNS stuff about the host part:

Root DNS servers operate in safes, inside locked cages. A clock sits on the safe to ensure the camera feed hasn’t been looped. Particularily given how slow DNSSEC implementation has been, an attack on one of those servers could allow an attacker to redirect all of the Internet traffic for a portion of Internet users. This, of course, makes for the most fantastic heist movie to have never been made.

Tuesday, March 3rd, 2020

Telling the story of performance

At Clearleft, we’ve worked with quite a few clients on site redesigns. It’s always a fascinating process, particularly in the discovery phase. There’s that excitement of figuring out what’s currently working, what’s not working, and what’s missing completely.

The bulk of this early research phase is spent diving into the current offering. But it’s also the perfect time to do some competitor analysis—especially if we want some answers to the “what’s missing?” question.

It’s not all about missing features though. Execution is equally important. Our clients want to know how their users’ experience shapes up compared to the competition. And when it comes to user experience, performance is a huge factor. As Andy says, performance is a UX problem.

There’s no shortage of great tools out there for measuring (and monitoring) performance metrics, but they’re mostly aimed at developers. Quite rightly. Developers are the ones who can solve most performance issues. But that does make the tools somewhat impenetrable if you don’t speak the language of “time to first byte” and “first contentful paint”.

When we’re trying to show our clients the performance of their site—or their competitors—we need to tell a story.

Web Page Test is a terrific tool for measuring performance. It can also be used as a story-telling tool.

You can go to webpagetest.org/easy if you don’t need to tweak settings much beyond the typical site visit (slow 3G on mobile). Pop in your client’s URL and, when the test is done, you get a valuable but impenetrable waterfall chart. It’s not exactly the kind of thing I’d want to present to a client.

Fortunately there’s an attention-grabbing output from each test: video. Download the video of your client’s site loading. Then repeat the test with the URL of a competitor. Download that video too. Repeat for as many competitor URLs as you think appropriate.

Now take those videos and play them side by side. Presentation software like Keynote is perfect for showing multiple videos like this.

This is so much more effective than showing a table of numbers! Clients get to really feel the performance difference between their site and their competitors.

Running all those tests can take time though. But there are some other tools out there that can give a quick dose of performance information.

SpeedCurve recently unveiled Page Speed Benchmarks. You can compare the performance of sites within a particualar sector like travel, retail, or finance. By default, you’ll get a filmstrip view of all the sites loading side by side. Click through on each one and you can get the video too. It might take a little while to gather all those videos, but it’s quicker than using Web Page Test directly. And it might be that the filmstrip view is impactful enough for telling your performance story.

If, during your discovery phase, you find that performance is being badly affected by third-party scripts, you’ll need some way to communicate that. Request Map Generator is fantastic for telling that story in a striking visual way. Pop the URL in there and then take a screenshot of the resulting visualisation.

The beginning of a redesign project is also the time to take stock of current performance metrics so that you can compare the numbers after your redesign launches. Crux.run is really great for tracking performance over time. You won’t get any videos but you will get some very appealing charts and graphs.

Web Page Test, Page Speed Benchmarks, and Request Map Generator are great for telling the story of what’s happening with performance right nowCrux.run balances that with the story of performance over time.

Measuring performance is important. Communicating the story of performance is equally important.

Monday, February 24th, 2020

Extinguished Countries

Guidebooks to countries that no longer exist.

The first book will be on the Republic of Venice. There’ll be maps, infographics, and I suspect there’ll be an appearance by Aldus Manutius.

Our first guidebook tells the story of the Republic of Venice, la Serenissima, a 1000-year old state that disappeared in 1797.

Wednesday, February 19th, 2020

Slopes | Tinkersynth

Have fun with this little machine, tweaking the parameters for generating a Joy Division/Jocelyn Bell-Burnell data visualisation.

The interface is quite delightful!