Myself and Jessica joining in some reels and jigs.
Saturday, August 10th, 2019
Tuesday, July 16th, 2019
Fifteen years ago, I went to the Willie Clancy Summer School in Miltown Malbay:
I’m back from the west of Ireland. I was sorry to leave. I had a wonderful, music-filled time.
I’m not sure why it took me a decade and a half to go back, but that’s what I did last week. Myself and Jessica once again immersed ourselves in Irish tradtional music. I’ve written up a trip report over on The Session.
On the face of it, fifteen years is a long time. Last time I made the trip to county Clare, I was taking pictures on a point-and-shoot camera. I had a phone with me, but it had a T9 keyboard that I could use for texting and not much else. Also, my hair wasn’t grey.
But in some ways, fifteen years feels like the blink of an eye.
I spent my mornings at the Willie Clancy Summer School immersed in the history of Irish traditional music, with Paddy Glackin as a guide. We were discussing tradition and change in generational timescales. There was plenty of talk about technology, but we were as likely to discuss the influence of the phonograph as the influence of the internet.
Outside of the classes, there was a real feeling of lengthy timescales too. On any given day, I would find myself listening to pre-teen musicians at one point, and septegenarian masters at another.
Now that I’m back in the Clearleft studio, I’m finding it weird to adjust back in to the shorter timescales of working on the web. Progress is measured in weeks and months. Technologies are deemed outdated after just a year or two.
The one bridging point I have between these two worlds is The Session. It’s been going in one form or another for over twenty years. And while it’s very much on and of the web, it also taps into a longer tradition. Over time it has become an enormous repository of tunes, for which I feel a great sense of responsibility …but in a good way. It’s not something I take lightly. It’s also something that gives me great satisfaction, in a way that’s hard to achieve in the rapidly moving world of the web. It’s somewhat comparable to the feelings I have for my own website, where I’ve been writing for eighteen years. But whereas adactio.com is very much focused on me, thesession.org is much more of a community endeavour.
I question sometimes whether The Session is helping or hindering the Irish music tradition. “It all helps”, Paddy Glackin told me. And I have to admit, it was very gratifying to meet other musicians during Willie Clancy week who told me how much the site benefits them.
I think I benefit from The Session more than anyone though. It keeps me grounded. It gives me a perspective that I don’t think I’d otherwise get. And in a time when it feels entirely to right to question whether the internet is even providing a net gain to our world, I take comfort in being part of a project that I think uses the very best attributes of the World Wide Web.
Tuesday, May 7th, 2019
Monday, February 25th, 2019
Accessibility on The Session
These forms have been enhanced with some Ajax to add some motion design: instead of refreshing the whole page, the next form is grabbed from the server while the previous one swooshes off the screen.
You can see similar functionality—without the animation—wherever there’s pagination on the site.
The pagination is using Ajax to enhance regular prev/next links—here’s the code.
The multi-step forms are using Ajax to enhance regular form submissions—here’s the code for that.
Both of those are using a wrapper I wrote for XMLHttpRequest.
That wrapper also adds some ARIA attributes. The region of the page that will be updated gets an
aria-live value of
polite. Then, whenever new content is being injected, the same region gets an
aria-busy value of
true. Once the update is done, the
aria-busy value gets changed back to
That all seems to work fine, but I was also giving the same region of the page an
aria-atomic value of
true. My thinking was that, because the whole region was going to be updated with new content from the server, it was safe to treat it as one self-contained unit. But it looks like this is what was causing the problem, especially when I was also adding and removing
class values on the region in order to trigger animations. VoiceOver seemed to be getting a bit confused and overly verbose.
I’ve removed the
aria-atomic attribute now. True to its name, I’m guessing it’s better suited to small areas of a document rather than big chunks. (If anyone has a good primer on when to use and when to avoid
aria-atomic, I’m all ears).
I was glad I was able to find a fix—hopefully one that doesn’t negatively impact the experience in other screen readers. As is so often the case, the issue was with me trying to be too clever with ARIA, and the solution was to ease up on adding so many ARIA attributes.
For me, all of this really highlights the beauty of the web, when everyone is able to contribute to a community like The Session, regardless of what kind of software they may be using. In the tunes section, that’s really helped by the use of ABC notation, as I wrote five years ago:
One of those screen-reader users got in touch with me shortly after joining to ask me to explain what ABC was all about. I pointed them at some explanatory links. Once the format “clicked” with them, they got quite enthused. They pointed out that if the sheet music were only available as an image, it would mean very little to them. But by providing the ABC notation alongside the sheet music, they could read the music note-for-note.
That’s when it struck me that ABC notation is effectively alt text for sheet music!
Then, for those of use who can read sheet music, the text of the ABC notation is automatically turned into an SVG image using the brilliant abcjs. It’s like an enhancement that’s applied, I dunno, what’s the word …progressively.
Wednesday, February 13th, 2019
Monday, January 7th, 2019
A short text file, imbued with meaning and memory.
Tuesday, January 1st, 2019
Friday, December 28th, 2018
Songs I liked from 2018
Sunday, November 25th, 2018
Food and music
Going from Iceland to Greece in a day gave me a mild bit of currency exchange culture shock. Iceland is crazy expensive, especially given the self-immolation of the pound right now. Greece is remarkably cheap. You can eat like a king for unreasonably reasonable prices.
For me, food is one of the great pleasures in life. Trying new kinds of food is one of my primary motivators for travelling. It’s fascinating to me to see the differences—and similarities—across cultures. In many ways, food is like a universal language, but a language that we all speak in different dialects.
It’s a similar story with music. There’s a fundamental universality in music across cultures, but there’s also a vast gulf of differences.
On my first night in Reykjavik, I wound up at an Irish music session. I know, I know—I sound like such a cliché, going to a foreign country and immediately seeking out something familiar. But I had been invited along by a kind soul who got in touch through The Session after I posted my travel plans there. Luckily for me, there was a brand new session starting that very evening. I didn’t have an instrument, but someone very kindly lent me their banjo and I had a thoroughly enjoyable time playing along with the jigs and reels.
A few nights later I was in a quiet, somewhat smokey tavern in Thessaloniki. There was no Irish music to be found, but the rembetika music played on gorgeous bouzoukis and baglamas was in full flow.
Tuesday, July 31st, 2018
Aw, this is so nice! Chris points to the way that The Session generates sheet music from abc text:
Here’s another way of thinking of it: I was contacted by a blind user of The Session who hadn’t come across abc notation before. Once they realised how it worked, they said it was like having
alt text for sheet music! 🤯
Wednesday, May 2nd, 2018
I really enjoyed chatting with Mark and Ben on the Relative Paths podcast. We talked about service workers and Going Offline, but we also had a good musical discussion.
Friday, April 20th, 2018
The Real Music Club presents Salter Cane, The Equatorial Group, The Organ Grinder’s Monkey Saturday 28th Apr 2018 | The Brunswick
Mark your calendars, Brightonians: one week from tomorrow, on Saturdaay, April 28th, come and see my band Salter Cane playing in The Brunswick.
We will rock you …in the most miserablist way possible.
Saturday, March 31st, 2018
Tuesday, January 2nd, 2018
Saturday, December 30th, 2017
Audio I listened to in 2017
I huffduffed 290 pieces of audio in 2017. I’ve still got a bit of a backlog of items I haven’t listened to yet, but I thought I’d share some of my favourite items from the past year. Here are twelve pieces of audio, one for each month of 2017…
Donald Hoffman’s TED talk, Do we see reality as it really is?. TED talks are supposed to blow your mind, right? (22:15)
How to Become Batman on Invisibilia. Alix Spiegel and Lulu Miller challenge you to think of blindness as social construct. Hear ‘em out. (58:02)
Where to find what’s disappeared online, and a whole lot more: the Internet Archive on Public Radio International. I just love hearing Brewster Kahle’s enthusiasm and excitement. (42:43)
Every Tuesday At Nine on Irish Music Stories. I’ve been really enjoying Shannon Heaton’s podcast this year. This one digs into that certain something that happens at an Irish music session. (40:50)
Nick Cave and Warren Ellis on Kreative Kontrol. This was far more revealing than I expected: genuine and unpretentious. (57:07)
Paul Lloyd at Patterns Day. All the talks at Patterns Day were brilliant. Paul’s really stuck with me. (28:21)
Long Distance on Reply All. It all starts with a simple phone call. (47:27)
The King of Tears on Revisionist History. Malcolm Gladwell’s style suits podcasting very well. I liked this episode about country songwriter Bobby Braddock. Related: Jon’s Troika episode on tearjerkers. (42:14)
Feet on the Ground, Eyes on the Stars: The True Story of a Real Rocket Man with G.A. “Jim” Ogle. This was easily my favourite podcast episode of 2017. It’s on the User Defenders podcast but it’s not about UX. Instead, host Jason Ogle interviews his father, a rocket scientist who worked on everything from Apollo to every space shuttle mission. His story is fascinating. (2:38:21)
R.E.M. on Song Exploder. Breaking down the song Try Not To Breathe from Automatic For The People. (16:15)
I’ve gone back and added the tag “2017roundup” to each of these items. So if you’d like to subscribe to a podcast of just these episodes, here are the links:
Wednesday, December 20th, 2017
This looks like a rather good documentary about the best band in the world.
Tuesday, October 3rd, 2017
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.
Tuesday, August 29th, 2017
It turns out that Brighton has a mandolin orchestra. This aligns with my interests.
Friday, August 18th, 2017
Tuesday, July 18th, 2017
Luke just demoed this at Codebar. It’s a lovely audio/visualisation of the solar system—a sonic orrery that you can tweak and adjust.