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Saturday, October 3rd, 2020

SydCSS 7th Birthday with Ethan Marcotte - YouTube

A great talk by Ethan called The Design Systems Between Us.

SydCSS 7th Birthday with Ethan Marcotte

Thursday, October 1st, 2020

Uniting the team with Jamstack | Trys Mudford

This is a superb twenty minute presentation by Trys! It’s got everything: a great narrative, technical know-how, and a slick presentation style.

Conference organisers: you should get Trys to speak at your event!

Monday, September 28th, 2020

Chris Ferdinandi: The Lean Web | July 2020 - YouTube

A great presentation on taking a sensible approach to web development. Great advice, as always, from the blogging machine that is Chris Ferdinandi.

The web is a bloated, over-engineered mess. And, according to developer and educator Chris Ferdinandi, many of our modern “best practices” are actually making the web worse. In this talk, Chris explores The Lean Web, a set of principles for a simpler, faster world-wide web.

Chris Ferdinandi: The Lean Web | July 2020

Monday, September 21st, 2020

Kinopio

Cennydd asked for recommendations on Twitter a little while back:

Can anyone recommend an outlining app for macOS? I’m falling out with OmniOutliner. Not Notion, please.

This was my response:

The only outlining tool that makes sense for my brain is https://kinopio.club/

It’s more like a virtual crazy wall than a virtual Dewey decimal system.

I’ve written before about how I prepare a conference talk. The first step involves a sheet of A3 paper:

I used to do this mind-mapping step by opening a text file and dumping my thoughts into it. I told myself that they were in no particular order, but because a text file reads left to right and top to bottom, they are in an order, whether I intended it or not. By using a big sheet of paper, I can genuinely get things down in a disconnected way (and later, I can literally start drawing connections).

Kinopio is like a digital version of that A3 sheet of paper. It doesn’t force any kind of hierarchy on your raw ingredients. You can clump things together, join them up, break them apart, or just dump everything down in one go. That very much suits my approach to preparing something like a talk (or a book). The act of organising all the parts into a single narrative timeline is an important challenge, but it’s one that I like to defer to later. The first task is braindumping.

When I was preparing my talk for An Event Apart Online, I used Kinopio.club to get stuff out of my head. Here’s the initial brain dump. Here are the final slides. You can kind of see the general gist of the slidedeck in the initial brain dump, but I really like that I didn’t have to put anything into a sequential outline.

In some ways, Kinopio is like an anti-outlining tool. It’s scrappy and messy—which is exactly why it works so well for the early part of the process. If I use a tool that feels too high-fidelity too early on, I get a kind of impedence mismatch between the state of the project and the polish of the artifact.

I like that Kinopio feels quite personal. Unlike Google Docs or other more polished tools, the documents you make with this aren’t really for sharing. Still, I thought I’d share my scribblings anyway.

The web we left behind by Kyle Jacobson (ESNEXT 2020) - YouTube

This is such an excellent presentation! It really resonates with me.

Kyle Jacobson is a developer who’s been working with the web for over 10 years, and he talks about lessons from the past that can make the future of the web not only easier to develop using battle-tested technologies, but also one friendlier for humans.

The web we left behind by Kyle Jacobson (ESNEXT 2020)

Wednesday, September 16th, 2020

Schedule / Inclusive Design 24 (#id24) 17 September 2020

No matter what time zone you’re in, you can tune in to some excellent-sounding talks tomorrow.

No sign-up. No registration. All sessions are streamed live and publicly on the Inclusive Design 24 YouTube channel.

Monday, August 17th, 2020

Design Principles For The Web—the links

I’m speaking today at an online edition of An Event Apart called Front-End Focus. I’ll be opening up the show with a talk called Design Principles For The Web, which ironically doesn’t have much of a front-end focus:

Designing and developing on the web can feel like a never-ending crusade against the unknown. Design principles are one way of unifying your team to better fight this battle. But as well as the design principles specific to your product or service, there are core principles underpinning the very fabric of the World Wide Web itself. Together, we’ll dive into applying these design principles to build websites that are resilient, performant, accessible, and beautiful.

That explains why I’ve been writing so much about design principles …well, that and the fact that I’m mildly obsessed with them.

To avoid technical difficulties, I’ve pre-recorded the talk. So while that’s playing, I’ll be spamming the accompanying chat window with related links. Then I’ll do a live Q&A.

Should you be interested in the links that I’ll be bombarding the attendees with, I’ve gathered them here in one place (and they’re also on the website of An Event Apart). The narrative structure of the talk might not be clear from scanning down a list of links, but there’s some good stuff here that you can dive into if you want to know what the inside of my head is like.

References

adactio.com

Wikipedia

Sunday, August 9th, 2020

Dream speak

I had a double-whammy of a stress dream during the week.

I dreamt I was at a conference where I was supposed to be speaking, but I wasn’t prepared, and I wasn’t where I was supposed to be when I was supposed to be there. Worse, my band were supposed to be playing a gig on the other side of town at the same time. Not only was I panicking about getting myself and my musical equipment to the venue on time, I was also freaking out because I couldn’t remember any of the songs.

You don’t have to be Sigmund freaking Freud to figure out the meanings behind these kinds of dreams. But usually these kind of stress dreams are triggered by some upcoming event like, say, oh, I don’t know, speaking at a conference or playing a gig.

I felt really resentful when I woke up from this dream in a panic in the middle of the night. Instead of being a topical nightmare, I basically had the equivalent of one of those dreams where you’re back at school and it’s the day of the exam and you haven’t prepared. But! When, as an adult, you awake from that dream, you have that glorious moment of remembering “Wait! I’m not in school anymore! Hallelujah!” Whereas with my double-booked stress dream, I got all the stress of the nightmare, plus the waking realisation that “Ah, shit. There are no more conferences. Or gigs.”

I miss them.

Mind you, there is talk of re-entering the practice room at some point in the near future. Playing gigs is still a long way off, but at least I could play music with other people.

Actually, I got to play music with other people this weekend. The music wasn’t Salter Cane, it was traditional Irish music. We gathered in a park, and played together while still keeping our distance. Jessica has written about it in her latest journal entry:

It wasn’t quite a session, but it was the next best thing, and it was certainly the best we’re going to get for some time. And next week, weather permitting, we’ll go back and do it again. The cautious return of something vaguely resembling “normality”, buoying us through the hot days of a very strange summer.

No chance of travelling to speak at a conference though. On the plus side, my carbon footprint has never been lighter.

Online conferences continue. They’re not the same, but they can still be really worthwhile in their own way.

I’ll be speaking at An Event Apart: Front-end Focus on Monday, August 17th (and I’m very excited to see Ire’s talk). I’ll be banging on about design principles for the web:

Designing and developing on the web can feel like a never-ending crusade against the unknown. Design principles are one way of unifying your team to better fight this battle. But as well as the design principles specific to your product or service, there are core principles underpinning the very fabric of the World Wide Web itself. Together, we’ll dive into applying these design principles to build websites that are resilient, performant, accessible, and beautiful.

Tickets are $350 but I can get you a discount. Use the code AEAJER to get $50 off.

I wonder if I’ll have online-appropriate stress dreams in the next week? “My internet is down!”, “I got the date and time wrong!”, “I’m not wearing any trousers!”

Actually, that’s pretty much just my waking life these days.

Friday, July 31st, 2020

On the origin of cascades

This is a great talk by Hidde, looking at the history and evolution of cascading style sheets. Right up my alley!

Saturday, July 18th, 2020

CSS photo effects - a Collection by Lynn Fisher on CodePen

These wonderfully realistic photo effects from Lynn are quite lovely!

Tuesday, July 14th, 2020

Ariel Waldman: The colorful critter world of microbes in Antarctica | TED Talk

Ariel gave a TED talk and it’s mind-blowingly good!

Monday, July 13th, 2020

Putting design principles into action

I was really looking forward to speaking at An Event Apart this year. I was going to be on the line-up for Seattle, Boston, and Minneapolis; three cities I really like.

At the start of the year, I decided to get a head-start on my new talk so I wouldn’t be too stressed out when the first event approached. I spent most of January and February going through the chaotic process of assembling a semi-coherent presentation out of a katamari of vague thoughts.

I was making good progress. Then The Situation happened. One by one, the in-person editions of An Event Apart were cancelled (quite rightly). But my talk preparation hasn’t been in vain. I’ll be presenting my talk at an online edition of An Event Apart on Monday, August 17th.

You should attend. Not for my talk, but for Ire’s talk on Future-Proof CSS which sounds like it was made for me:

In this talk, we’ll cover how to write CSS that stands the test of time. From progressive enhancement techniques to accessibility considerations, we’ll learn how to write CSS for 100 years in the future (and, of course, today).

My talk will be about design principles …kinda. As usual, it will be quite a rambling affair. At this point I almost take pride in evoking a reaction of “where’s he going with this?” during the first ten minutes of a talk.

When I do actually get around to the point of the talk—design principles—I ask whether it’s possible to have such a thing as universal principles. After all, the whole point of design principles is that they’re specific to an endeavour, whether that’s a company, an organisation, or a product.

I think that some principles are, if not universal, then at least very widely applicable. I’ve written before about two of my favourites: the robustness principle and the principle of least power:

There’s no shortage of principles, laws, and rules out there, and I find many of them very useful, but if I had to pick just two that are particularly applicable to my work, they would be the robustness principle and the rule of least of power.

What’s interesting about both of those principles is that they are imperative. They tell you how to act:

Be conservative in what you send, be liberal in what you accept.

Choose the least powerful language suitable for a given purpose.

Other princples are imperative, but they tell you what not to do. Take the razors of Occam and Hanlon, for example:

Entities are not to be multiplied without necessity.

Never attribute to malice that which is adequately explained by stupidity.

But these imperative principles are exceptions. The vast majority of “universal” principles take the form of laws that are observations. They describe the state of the world without providing any actions to take.

There’s Hofstadter’s Law, for example:

It always takes longer than you expect, even when you take into account Hofstadter’s Law.

Or Clarke’s third law:

Any sufficiently advanced technology is indistinguishable from magic.

By themselves, these observational laws are interesting but they leave it up to you to decide on a course of action. On the other hand, imperative principles tell you what to do but don’t tell you why.

It strikes me that it could be fun (and useful) to pair up observational and imperative principles:

Because of observation A, apply action B.

For example:

Because of Murphy’s Law, apply the principle of least power.

Or in its full form:

Because anything that can go wrong will go wrong, choose the least powerful language suitable for a given purpose.

I feel like the Jevons paradox is another observational principle that should inform our work on the web:

The Jevons paradox occurs when technological progress increases the efficiency with which a resource is used, but the rate of consumption of that resource rises because of increasing demand.

For example, even though devices, browsers, and networks are much, much better now than they were, say, ten years ago, that doesn’t mean that websites have become better or faster. Instead, it’s precisely because there’s more power available that people think nothing of throwing megabytes of JavaScript at users. See Scott’s theory that 5G Will Definitely Make the Web Slower, Maybe:

JavaScript size has ballooned as networks have improved.

This problem would be addressed if web developers were more conservative in what they sent. The robustness principle in action.

Because of the Jevons paradox, apply the robustness principle.

Admittedly, the expanded version of that is far too verbose:

Because technological progress increases the efficiency with which a resource is used, but the rate of consumption of that resource rises because of increasing demand, be conservative in what you send, be liberal in what you accept.

I’m sure there are more and better pairings to be made: an observational principle to tell you why you should take action, and an imperative principle to tell you what action you should take.

Friday, June 19th, 2020

Wednesday, June 17th, 2020

There Has Never Been a Better Time to Read Ursula Le Guin’s “Earthsea” Books - Electric Literature

Well, this is timely! Cassie mentioned recently that she was reading—and enjoying—the Earthsea books, which I had never got around to reading. So I’m reading them now. Then Craig mentioned in one of his newsletters that he’s also reading them. Now there’s this article…

To white protestors and accomplices, who say that they want to listen but are fearful of giving up some power so that we can all heal, I suggest you read the Earthsea cycle. You will need to learn to step away from the center to build a new world, and the Black majority in this fantasy series offers a better model than any white history.

Friday, May 22nd, 2020

An Event Apart Human-Centered Design - Web Design & UX Conference

I’ll be speaking at this online version of An Event Apart on July 20th, giving a brand new talk called Design Principles For The Web—’twould be lovely to see you then!

Designing and developing on the web can feel like a never-ending crusade against the unknown. Design principles are one way of unifying your team to better fight this battle. But as well as the design principles specific to your product or service, there are core principles underpinning the very fabric of the World Wide Web itself. Together, we’ll dive into applying these design principles to build websites that are resilient, performant, accessible, and beautiful.

Tuesday, May 12th, 2020

The History of the Future

It me:

Although some communities have listed journalists as “essential workers,” no one claims that status for the keynote speaker. The “work” of being a keynote speaker feels even more ridiculous than usual these days.

Friday, April 17th, 2020

Future Sync 2020

I was supposed to be in Plymouth yesterday, giving the opening talk at this year’s Future Sync conference. Obviously, that train journey never happened, but the conference did.

The organisers gave us speakers the option of pre-recording our talks, which I jumped on. It meant that I wouldn’t be reliant on a good internet connection at the crucial moment. It also meant that I was available to provide additional context—mostly in the form of a deluge of hyperlinks—in the chat window that accompanied the livestream.

The whole thing went very smoothly indeed. Here’s the video of my talk. It was The Layers Of The Web, which I’ve only given once before, at Beyond Tellerrand Berlin last November (in the Before Times).

As well as answering questions in the chat room, people were also asking questions in Sli.do. But rather than answering those questions there, I was supposed to respond in a social medium of my choosing. I chose my own website, with copies syndicated to Twitter.

Here are those questions and answers…

The first few questions were about last years’s CERN project, which opens the talk:

Based on what you now know from the CERN 2019 WorldWideWeb Rebuild project—what would you have done differently if you had been part of the original 1989 Team?

I responded:

Actually, I think the original WWW project got things mostly right. If anything, I’d correct what came later: cookies and JavaScript—those two technologies (which didn’t exist on the web originally) are the source of tracking & surveillance.

The one thing I wish had been done differently is I wish that JavaScript were a same-origin technology from day one:

https://adactio.com/journal/16099

Next question:

How excited were you when you initially got the call for such an amazing project?

My predictable response:

It was an unbelievable privilege! I was so excited the whole time—I still can hardly believe it really happened!

https://adactio.com/journal/14803

https://adactio.com/journal/14821

Later in the presentation, I talked about service workers and progressive web apps. I got a technical question about that:

Is there a limit to the amount of local storage a PWA can use?

I answered:

Great question! Yes, there are limits, but we’re generally talking megabytes here. It varies from browser to browser and depends on the available space on the device.

But files stored using the Cache API are less likely to be deleted than files stored in the browser cache.

More worrying is the announcement from Apple to only store files for a week of browser use:

https://adactio.com/journal/16619

Finally, there was a question about the over-arching theme of the talk…

Great talk, Jeremy. Do you encounter push-back when using the term “Progressive Enhancement”?

My response:

Yes! …And that’s why I never once used the phrase “progressive enhancement” in my talk. 🙂

There’s a lot of misunderstanding of the term. Rather than correct it, I now avoid it:

https://adactio.com/journal/9195

Instead of using the phrase “progressive enhancement”, I now talk about the benefits and effects of the technique: resilience, universality, etc.

Future Sync Distributed 2020

Thursday, March 26th, 2020

CSS Can Influence Screenreaders | Ben Myers

This surprises me. But forewarned is forearmed.

Monday, February 10th, 2020

Open source beyond the market - Signal v. Noise

The transcript of David Heinemeier Hansson keynote from last year’s RailsConf is well worth reading. It’s ostensibily about open source software but it delves into much larger questions.

Wednesday, January 22nd, 2020

Building

The opening presentation from the New Adventures conference held in Nottingham in January 2019.

Good morning, everybody. It is a real honour to be here. As Simon said, I was here six, seven, eight years ago attending this conference because it’s such a great conference. I’m kind of feeling the pressure now that I’m up here on the stage speaking at this conference. I’m just glad I’m on first so I can get it over with and then listen to all these great talks.

I’m here today to talk to you …which is kind of weird when you think about it. I mean, first, the fact that it’s me up here on the stage through some clerical error.

But also, I’m going to talk to you. I’m going to vibrate air over my vocal cords and move this big meaty piece of flesh inside my jaw up and down vibrating the airwaves and you’re going to listen to me doing that. It seems like a crazy thing to do except for the fact that, of course, I’ll be using language.

Language

Maybe the great distinguishing feature of our species, language. The great leap forward that happened—who knows—50,000, 100,000 years ago when we, as a species, developed language. With language, by moving those vocal cords and that big piece of flesh in my jaw, we can tell stories. I can recount something that happened in the past.

Perhaps more amazingly, we can imagine things that might come to be. I could tell you something that might happen in the future. So language is a kind of time travel.

It’s all possible because we’re speaking the same codebase. The particular language I’m talking now is English. As long as you can decode English then all these noises I’m making will make sense to you even if there isn’t actually any information in the words. I can say Chomsky’s famous one.

Colourless green ideas sleep furiously.

You can parse that. It doesn’t make any sense, but you can parse it.

Most of the time, the sentences we use also convey some kind of information. Language is not just time travel. Language is also communication.

There can be an idea that’s sitting in my head and I’ll, you know, vibrate the air and vocal cords, flap this big fleshy thing in my jaw around, and transfer the idea from my head to your head. Language is almost like a virus. You can’t help but take the idea in.

I can say to you, “Don’t think of an elephant,” right? Now you’ve just thought of an elephant. It’s the language equivalent of the chicken game which, if you haven’t played before, sorry. You’ve just lost.

Chicken game. Don’t look at this chicken. Game over.

This sentence, “Don’t think of an elephant,” is actually the title of a book by George Lakoff. George Lakoff is a linguist. He’s written many books. He wrote Women, Fire, and Dangerous Things. He wrote this, Metaphors We Live By, because he’s kind of obsessed with metaphors.

We use metaphor all the time in language. We use conceptual metaphor, so when we take one idea and we use the language of that idea to talk about a different idea. The classic example being something intangible.

Let’s say time. How do we talk about time when we can’t touch it, we can’t feel it, it’s intangible? Well, we use metaphor.

We talk about time as though it’s a physical object moving through space. We say time flies or time drags or we talk about time as though it’s a resource. We talk about saving time, wasting time.

You can’t do any of those things with time. That’s not how time works. But the metaphor is very helpful.

The other kind of metaphor is the cognitive metaphor. This is what George Lakoff is interested in, particularly in things like political language. How we frame a debate can tip the scales of how that debate would unfold. If we were about to have a debate about tax relief, well, before the debate has even begun, we’ve framed taxation as something you need relief from and the scales have been tipped.

I’m very interested in this idea of metaphor, analogy, and simile and how we talk about the work we do. It’s such a young industry. What we do is we borrow from other industries. We’re not the first to do this. There’s a great book called Understanding Comics by Scott McCloud. Who’s read Understanding Comics? It’s great.

It’s about comics but, really, it’s just a fantastic book. It’s written as a comic. In it, Scott McCloud makes the point of this new medium, comics, had to kind of borrow from the existing mediums that came before. He points out that this isn’t new. He says:

Each new medium begins its life by imitating its predecessors. Many early movies were like filmed stage plays. Much early television was like radio with pictures.

Right? That it takes time.

Now, this idea of a new medium having to borrow the tropes and the language of the medium that came before, this idea pops up again on the web in this article published in the year 2000 by John Allsopp on A List Apart, A Dao of Web Design. Can I get a show of hands of who’s read A Dao of Web Design? Awesome. You are my people. The rest of you, please read it. It’s such a wonderful article.

It’s crazy that I’m standing up here recommending, “Oh, yeah, you should totally read this article from the year 2000,” but it is relevant. It’s amazingly relevant still today. It’s maybe more relevant today than when it was written. 
In the article, John says:

When a new medium borrows from an existing one, some of what it borrows makes sense, but much of the borrowing is thoughtless, it’s ritual, and it often constrains the new medium. Over time, the new medium develops its own conventions, throwing off existing conventions that don’t make sense.

Now, at the time John was writing this, 2000, of course, we were borrowing from what had come before in the previous medium and that was print. We were trying to figure out how do we get the same level of control that we were used to in the world of print on the web. We did that using clever techniques thanks to David Siegel who wrote this book, Creating Killer Websites. David Siegel, if you don’t know the name, you’re certainly familiar with his work because he’s the guy who came up with the idea of using tables for layout or having a one-pixel by one-pixel spacer GIF.

Hey, listen. That was the only way we could do it back then. They were hacks, yes, but they were necessary hacks. He did actually recant. Years later, he wrote a piece that said, the web is ruined and I ruined it. This may be overstating the case, but you know.

He was pointing out we could use these techniques, these hacks to constrain Web and make it work like print. We could get pixel-perfect control. John Allsopp, in his article, he’s kind of pushing against and going, no, no, no:

The web is a new medium. It has emerged from the medium of printing whose skills and design language and convention strongly influence it. It is too often shaped by that from which it sprang. Killer websites are usually those which tame the wildness of the web, constraining pages as if they were made of paper. Desktop publishing for the web.

So, I mean, John totally acknowledges that there is a lot to learn from this rich, rich history of print and, before print, just writing. This is clearly the second great leap of our species. We had language where we could communicate ideas, tell stories, imagine the future—as long as we’re in the same physical space—and then we came up with writing. Now we can communicate, re-viral ideas, talk about the future and the past, and we don’t even have to be in the same physical place. Someone who died centuries ago can put an idea in your head by putting language onto a medium like vellum or, later, paper.

You can see this evolution over centuries from illuminated manuscripts to the printing press, Gutenberg, until we get to the 20th Century and we really start to refine the design. We got the Swiss School of Design, the fonts, typography, and the grid system. There’s a lot to learn here.

The Book of Kells. Gutenberg’s bible. Grid Systems.

What’s interesting to me, though, is what seems to be this battle of extremes. We’ve got David Siegel talking about desktop publishing for the web, effectively, and John Allsopp talking about, “No, the web is its own medium. It needs to have its own conventions.”

They seem to be at opposite ends of a spectrum. Yet, they actually have a commonality because, on both sides, when they’re talking about this, they’re talking about websites — web sites. Now, that in itself is a metaphor. You don’t have physical sites on the web. It’s intangible like time. Yet, we chose this metaphor. The idea of a site, a place where you go to a physical place.

Site actually is pretty good with connotations of a building site, a construction site. That was literally the metaphor in the ’90s. The web is like a construction site. It kind of is constantly under construction. Oh, you want the full nostalgic effect?

Under construction.

There we go. We’re back to Geocities. But I feel like then we decided to grow out of this metaphor and use more grownup metaphors. We got professional. We had to borrow from other industries, other mediums, and here’s one that people are very fond of borrowing: architecture—describing what we do as architecture.

Architects

Whether it’s on the design side or the development side, talking about us as architects. It seems like a very appealing industry to borrow from, which is fascinating. If you ever talk to architects, man, it’s a shitty industry. Spec work, awards, and competition, it’s not a great industry.

But we seem to hold it up as, like, “Oh, yeah, we’re like architects because architects are awesome.” I think of Hollywood because every Hollywood movie that has an architect in it, the architects are always really nice people. They’re always like the protagonist, never the antagonist. The architect is never the villain.

It’s fair enough. It’s fair enough to borrow things from something like architecture. For example, I know plenty of designers who would say that this book is the best book about UX that they’ve ever read, 101 Things I Learned in Architecture School by Matthew Frederick. It was published in 2007. It’s not written for UX designers. It’s not written about the web, but there are lessons in there that are directly applicable.

There are other works from the world of architecture that have definitely influenced the work we are doing today like the classic from Christopher Alexander, A Pattern Language. Now this—I say classic rightly—this is a classic book. A classic book is a book everyone has heard of and nobody has read.

That is certainly the case here. Published in 1977, and it influenced lots of people doing things in the digital space. Ward Cunningham, the inventor of the wiki, he said, yeah, he was really influenced by A Pattern Language.

The idea of a pattern language, it’s architecture, but breaking things down into components that you could change the parameters we used in public spaces, buildings, things like that. It’s a modular approach. Later on, in the software world, a gang of four, they wrote Design Patterns: Elements of Reusable Object-Oriented Software, and they were directly influenced by Christopher Alexander, this idea of a pattern language, components, patterns, modularity.

What’s interesting is there’s another book by Molly Wright Steenson, you may remember was a blogger, Girl Wonder. She worked in the world of architecture and she’s written a book about the influence of architects and designers on the digital space. Richard Saul Wurman, and information architecture. There’s a very direct metaphor there, but also Christopher Alexander.

She points out, actually, the funny thing is, he’s had way more of an influence in the digital space than he ever had in architecture. Most architects don’t like him. They think he’s a bit preachy. But his influence in the digital space is massive. Here I am talking about modularity, components, and patterns. Well, I mean, that is so hot right now. Design systems, we’re breaking things down into patterns. 
In fact, I ended up organizing a conference in 2017, purely about design systems, pattern libraries, styles, all this stuff called Patterns Day. It was great. We had these wonderful speakers. Jina Anne was there, Rachel Andrew, Alla Kholmatova, Alice Bartlett. It was great.

But, by the end of the day, I was kind of half-joking as saying, we should have had a drinking game where, every time someone referenced Christopher Alexander, we had to take a drink because his spirit loomed large over this. Actually, the full rules of the drinking game I came up with afterward where any time someone references Christopher Alexander, you take a drink. Any time someone says Lego, you take a drink. Any time someone says that naming things is hard, take a drink. Any time someone says atomic or atomic design, take a drink. Anytime someone says bootstrap, you puke the drink back up.

A Pattern Language is a work of architecture that directly not just influenced but is still influencing our work today; the idea of breaking things down into components to reuse.

Now, there’s another work from the world of architecture that has a big influence on me. It’s a classic book, again, How Buildings Learn. It’s the best book I’ve never read, published in 1994, by Stewart Brand. There was also a TV series that went with this that’s pretty fascinating.

In this, he talks about the work of a British architect named Frank Duffy and Duffy’s idea of something he called shearing layers. What Duffy said was that a building properly conceived is several layers of longevity. He kind of broke these down. You’ve got the sites that the building is on. We’re talking about geological time scales.

Then above that, the structure you hope will last for centuries. Then you’ve got the infrastructure inside the building that you might have to swap out every few decades. Change the plumbing. Then you’ve got the walls and the doors. You can change them every so often until you get into the room. You’ve got furniture, which you can move on a daily basis.

The time scales get faster as you move inward. He diagrammed it like this. This is shearing layers diagrammed for the building. I find this really interesting, this idea of different time scales.

Shearing layers.

But there’s another factor here I’m kind of fascinated by, which is that each layer depends on the layer below. You can’t have a structure until you’ve got a site to build on. You can’t have furniture inside a room until you’ve got the room. You need to have the walls there. Each layer is building on top of what’s come before. You can’t jump straight ahead to furniture without first having all those other layers.

Now, this reminds me of another idea that the writer Steven Johnson talks about a lot in his work, for example, this book, Where Good Ideas Come From. This is the idea of the adjacent possible, that certain inventions leap forward that can’t happen until other things have happened before them.

There’s a reason why the microwave oven wasn’t invented in medieval France. Too many other things had to be invented first before something like the microwave oven becomes inevitable.

Everything we do is kind of built on this idea of the adjacent possible because businesses and services on the web are on top of a whole bunch of layers of adjacent possibilities. You can’t have Twitter, Facebook, or Wikipedia until the web exists. The web itself is built on all of these layers that have to happen first.

We have to have the Industrial Revolution. We have to have electricity. Then somebody has to create circuitry. We have to get to the idea of having computers and then networked computers, something like the Internet. Then the web becomes possible. Once the web is possible, then all these businesses on top of the web become possible.

This idea of the adjacent possible, the shearing layers, they kind of fascinate me because I’m seeing a parallel there.

Now, Stewart Brand, who wrote about shearing layers and architecture, he revisited this idea of shearing layers and took them out from the world of architecture in a later work called The Clock of the Long Now. Stewart Brand is one of the founders of the Long Now Foundation. If you haven’t heard of it, it’s an organization dedicated to long-term thinking. I’m a card-carrying member. The card is designed to last for a few thousand years as well.

They’re currently building a clock that will tell time for 10,000 years. Brian Eno has written an algorithm for the chimes so that when it chimes once a century, it will never be quite the same chime. It’s encouraging long now thinking.

In this book, the full title of the book being The Clock of the Long Now: Time and Responsibility: The Ideas Behind the World’s Slowest Computer, he extrapolates shearing layers into something he calls pace layers. If you take the shearing layers model and look around you, it’s everywhere. It’s kind of like systems thinking, the Donella Meadows idea that systems are everywhere.

Pace layers.

It’s kind of true. You look around these pace layers; shearing layers applied to the real world are everywhere. The example he gives is our species. If we look at the human race, we have these different time scales. The slowest is our physical nature as in our DNA, our physiological nature. That takes millennia to change. Physiologically, there’s no difference between a caveman and a spaceman.

Above that, you’ve got culture. This takes centuries, maybe longer, to accumulate over time.

Then systems of governance; not governments — governance. How are we going to run the societies?

An infrastructure, you want that to move faster, but not too fast or it could be very disruptive. 
Then you get into commerce, trading. Very fast-moving.

Then, finally, you’ve got fashion, which is super-fast. By fashion, he means things like popular music, anything that’s supposed to move fast. If fashion moved slowly, that wouldn’t be a good thing. It’s meant to move fast. It’s meant to try things out. “What about this? No, what about this? Try this.” Right? You don’t want for the things further down.

He’s mapped this onto these layers. From shearing layers, we go to pace layers. They have different timescales.

I’m talking about the difference between these really fast layers at the top, you know, “What about this? Try this? Today, we’re doing that,” compared to the really slow layers at the bottom that move slowly and are resistant to change.

He says:

Fast learns but slow remembers. Fast proposes and slow disposes. Fast is discontinuous but slow is continuous. Fast and small instructs slow and big by a crude innovation, an occasional revolution, and slow and big controls small and fast by constraint and constancy. Fast gets all our attention, but slow has all the power.

Now, once I was exposed to this idea and this virus had landed in my head, I found that I couldn’t get it out of my head. I started seeing pace layers everywhere. At Clear Left, where I work, it’s a running joke. On every project, we have a kickoff. It’s like, what’s the time to pace layers? How long will it be before someone makes a pace layer analogy? It’s like my brain has now been rewired to see pace layers everywhere.

It’s like, you know, the first time that someone points out the arrow in the FedEx logo. There was your life before that and there’s your life after that.

You’ve all seen the arrow in the FedEx logo. Yeah.

What about Toblerone? You’ve all seen the bear? Ah, yeah! Right? You will never be able to unsee that.

Consider the duck.

It’s a perfectly normal, ordinary duck. Agreed? But then your brain is exposed to the idea that all ducks are actually wearing dog masks.

All ducks are actually wearing dog masks. Now, when I show you the same picture of the same duck—

—you will never be able to unsee that. That’s how my brain feels when it comes to pace layers. I see them everywhere. It’s like the crazy wall part of the serial killer’s lair in the murder mystery. It’s just pace layers.

I couldn’t help but apply pace layers to the work we do mapping our medium to pace layers. Let’s try it with the World Wide Web.

The layers of the web.

Well, we build on top of the Internet. We can’t have the web before having Internet. At the very bottom layer, you’ve got the protocols of the Internet itself, you know, TCP/IP, which have been pretty much unchanged for decades. They were there from the ARPANET before the Internet. It’s a good thing that they’re unchanged. You would not want to be swapping out that low layer very quickly.

Above that, we have all the different protocols we use, protocols for email, protocols for file transfer, and protocols for the World Wide Web, HTTP, the hypertext transfer protocol. Now, this has evolved over time. We now have HTTP2, but it’s been a slow process and that feels right. Again, we shouldn’t be swapping out too quickly, but it’s a bit faster moving than the Internet protocols. 
On top of HTTP, we can put our URLs. Now, I would love it if URLs were right down at the bottom layer and they were permanent and they never changed and they never went away. That is the web I want, but I must acknowledge that, alas, you have to work hard to keep URLs alive. They do change. They do move. They do get destroyed, which is a bit of a shame, but we can work at it, people. We can work on keeping our URLs alive.

What we put at that those URLs, at the simplest level, we’ve got HTML. It was there from the start. From day one of the web, HTML was there and it’s still there today, but it’s evolved. It’s changed over time. Initially, HTML had 21 elements and now it’s got 121 elements, so it’s evolved.

But it feels like you can keep up with the pace of change. The last big evolution of HTML was 2010, later, with HTML5. We do get new editions every now and then, but it’s fine. We can keep up with it.

Then CSS, CSS changes may be more — definitely changes more rapidly than HTML. That feels like a good thing. We kind of want more. Give us some more CSS and now we’ve got Grid and we’ve got Flexbox. We’ve got all these great, new CSS things. Custom properties.

I don’t feel too overwhelmed by that. I still feel like, “Oh, no, this is good. We’ve got new CSS. I’m feeling I can keep on top of this, you know, read the right articles, read the right books, try them out. It’s fine.”

Then there’s the JavaScript ecosystem.

Specifically, the ecosystem, not the language, because the JavaScript language itself doesn’t actually change that often. ES6 or ES2000, whatever we’re talking about the evolution to the language, they’re not so rapid that we’d get overwhelmed. But the language ecosystem, the culture of JavaScript, that feels overwhelming to me. Right? Since I’ve been speaking up here, two new JavaScript frameworks have been released.

The pace, I constantly feel like I’m falling behind like, “Oh, I haven’t even heard of this new thing that apparently everybody is using.”

Does anyone else feel overwhelmed by this pace of change? Okay, good. Keep your hands up for a sec and just look around. All right? You are not alone. This turns out to be normal.

But here’s the thing. By mapping these different rates onto this model of pace layers, I actually start to feel better about this because let’s say the JavaScript ecosystem is fashion: “It’s going to do this. No, no, today we’re doing that. Try this. Try that.”

Whereas, “Oh, okay. It’s supposed to move fast. It would be bad if it moved slow. It’s meant to be trying stuff out. We see what sticks.”

With fashion, the best of pop music will probably last and find its way down the layers into culture, a slower pace layer. With the JavaScript, the patterns that work in JavaScript may find their way down into the slower moving layers.

To give you an example, when JavaScript was first invented—I’m showing my age here—I remember the common use cases were rollovers, image rollovers. And form validation, so mousing over something and changing how it looks, we’d use JavaScript for that. If someone is filling in a form and there’s a required field, we’d use JavaScript to make sure that required field was filled in.

These days, we wouldn’t even use JavaScript for either of those. We’d use CSS to do rollovers. We’d use HTML to add just one required attribute. The pattern, it stuck. The spaghetti stuck to the wall and it moved down the layers into something more stable.

That’s what JavaScript is kind of supposed to do. When we’re trying to responsive images, we had JavaScript solutions until we got to something that was further down the stack in HTML.

I do feel overwhelmed by the pace of change. But I’m starting to feel a little better about feeling overwhelmed, that it’s okay. JavaScript is meant to feel overwhelming. It’s where we try stuff out. It’s where stuff moves fast.

Now, the other thing I realized by mapping our technology stack of the web onto this pace layer model is that this is how I build. When I’m building a website, I pretty much start at the third layer. I don’t worry about, is the Internet on.

I start with URLs. I think URL design is a really good place to start designing. It is a design discipline, a neglected one, but it is design. Then I think about the content and then structure that content using the best available markup of HTML. I think about the presentation may be on a small screen first and then the presentation on larger screens using CSS. Then start thinking about extra behaviors that I can’t get with HTML and CSS, so I reach for JavaScript to add those extra behaviors.

This seems to me to make sense as a way of building on the web because it maps to the structure of the pace layers of the web. But it’s also a testament to the flexibility of the web that you don’t have to build this way. If you don’t want to build in this layered way, you don’t have to.

In fact, you can build like this. You can put something that’s on the Internet, but you just do everything in JavaScript. URL routing, let’s do that in the browser in JavaScript. The Document Object Model, let’s generate that in the browser in JavaScript. CSS, apparently we’re doing it in JS now.

Everything in JavaScript. This is an absolutely legitimate choice. You can choose to build things on the web like this. The web allows this. Again, it’s a testament to the flexibility of the web.

Now, personally, I don’t build like this and this doesn’t feel quite right to me. It doesn’t feel like it maps to the web too well. It kind of turns it into this all or nothing situation where, as long as we’ve got JavaScript, everything is going to be great. But if we don’t, there’s nothing.

You end up with this situation where we’ve turned what we’re building on the web into a binary situation. Either it works great or it just doesn’t work at all. There’s this kind of single point of failure there with the JavaScript.

Now, this model makes complete sense in other mediums. I think other mediums have influenced our thinking on the web. Maybe we’ve borrowed the metaphors of these other mediums.

For example, if you’re building a native app, this makes complete sense. If you’re building an iOS app and I have an iOS device, it works great. I get 100% of what you designed. But if you build an iOS app and I have, say, an Android device, it doesn’t work at all. You can’t install an iOS app onto an Android device. Those are your options: either it works great or it doesn’t work at all. This mental model makes complete sense in that field.

On the web, because we can have this layered approach, that means we can build like this. We can go from something that doesn’t work at all to something that just about works—maybe it’s just text on a screen—to something that works fine—maybe it’s missing a bunch of behaviors, but the user can accomplish what they want to do—to something that works well, but maybe the latest and greatest browser APIs aren’t supported by a particular browser—and then to something that works great like the latest browser running the best device, great network.

Building in layers.

Most people are going to be somewhere on this continuum. Maybe nobody is going to get 100% of what you hope they get, but no one is going to get zero percent either as long as you’re building in this way, as long as you’re building with the grain of the web, building in layers, one thing on top of the other.

I’m going to quote Ethan here. Hi, Ethan. Ethan said:

I like designing in layers. I love looking at the design of a page, a pattern, whatever, and thinking about how it would change if, say, fonts aren’t available or JavaScript doesn’t work or if someone doesn’t see the design as you and I might and is having the page read aloud to them.

In a way, this is a way of busting assumptions, the what-ifs. What if something isn’t supported? By building in a layered way, it’s okay. Everything will fall back to the layer below, the adjacent possible.

Now, Ethan, of course, we all know from this article, Responsive Web Design, published on A List Apart. When was that? 2010. My God, nine years ago. Ten years after, John Allsopp published A Dao of Web Design on A List Apart. One of the first things Ethan does in this article is to reference A Dao of Web Design. You could say that Ethan was building on top of that foundational layer that was set by John Allsopp.

Architecture again. Responsive web design. The reason why Ethan chose that term was because there was this idea in architecture called responsive architecture about buildings that could respond to the conditions of the people in the buildings. That made a really good metaphor for talking about the web on large screens, small screens, and everything in between.

This architecture thing, as a metaphor, it’s not bad. We can learn from it. I think, just be careful not to take it too far.

It’s not the only metaphor we use. Here’s another one. When we don’t talk about ourselves as architects, we’re engineers. Yeah.

Engineers

It sounds good. This one predates the web. We’ve been talking about the idea of software engineering for a long time. I’m very partial to this term: software engineering. Not so much for the term itself. Not that I think it’s a particularly good metaphor, but from where it comes from, which is fricken’ awesome.

Margaret Hamilton.

The term “software engineering” comes from Margaret Hamilton. Margaret Hamilton was in charge of the onboard flight software on the Apollo moon landing. This is engineering. That is the code base she’s standing next to there, which would then literally be woven into the computers onboard Apollo.

But as a metaphor, engineering, well, there’s a whole bunch of different kinds of it. What kind of engineer are we talking about here? Is it material engineering, structural engineering, chemical engineering, aeronautical engineering? They all have commonalities. One being, as an engineer, you’ve got to know two things. There’s the materials you’re going to be working with and the tools you’re going to use to shape those materials.

Now, I think that we can use that metaphor and apply it to the web. I would say the materials on the web are HTML, CSS, and our JavaScript, hopefully in that order. Then we’ve got the tools we use to design for the materials of the web. 
Now, the most obvious tools we could think of are graphic design tools. We started using Photoshop even though that was never intended for Web design. Since then, we’ve evolved and we’ve got tools that are much more focused on the web, things like Sketch, Figma, and all this kind of stuff.

These are obvious tools we use to build the web, but there are less obvious tools. If you were working on a Web project, these tools also get used. You’re going to be talking over email. You’re going to be communicating over Slack, organizing spreadsheets, spreadsheets people.

We talk about these as productivity tools, though sometimes I know it feels like they are reducing productivity rather than increasing it. But it’s kind of a misnomer when you think about productivity tools. All tools are productivity tools. That’s literally what tools are for is to make you more productive.

I think we should acknowledge that these are legitimate design tools. You can’t launch a project without putting in some time and some kind of communication tool.

Then when it comes to the actual welding of these materials, we’ve got a whole bunch of tools that sit in our machines or sit in our Web servers. Now I feel like I’m back up at that top layer of the pace layers and I’m getting overwhelmed with the task runners, the build tools, the chains, the transpilers, and the preprocessors. Apparently, it changes every week. Oh, you’re still using Grunt? No, we’re using Gulp. No, Webpack. That’s what’s so overwhelming.

It also feels like it’s quite complicated. This is complicated stuff, but it’s like we’ve chosen it. We’ve chosen to make our lives complicated, in a way.

I’ll tell you what it reminds me of. Do you remember that startup, Juicero?

Where they sold a big, expensive, complicated machine to make juice, but you had to buy exactly the right juice packets to put in the big, expensive machine to make the juice. It works. It works great. The big, expensive, complicated machine does its job but somebody noticed that you could actually just take the packets and squeeze them by hand and it still produces juice. I’m just saying that squeezing by hand is still an option. You can build websites by squeezing by hand. (I think this metaphor has been stretched just about as far as it can do, so I will leave it there.)

There’s this other kind of spectrum, I guess, between the materials and the tools and then the people that will be exposed to the materials and the tools. They kind of fall into two categories: the engineers themselves and the end-users.

When we’re evaluating our tools and asking, “Is this the right tool to use?” we should evaluate it from our perspective, yes, “Is this going to be a helpful tool to me as an engineer?” if we’re using that metaphor. But I strongly feel we should also ask, “Is this going to be useful for the end-user?”

If those two things come into conflict, what then? Do we privilege our own experience over the user experience? I would hope not. I worry that, in a lot of tool choices, particularly on stuff that gets sent down to the browser. “Oh, I’m going to use a CSS framework.” Great. Good for you. That’s helping you out but now the user has to pay the cost of the benefit that you get from that CSS framework because they have to download the whole CSS framework.

Sometimes, these things come into conflict and I feel like maybe we privileged the developer experience over the user experience and that worries me. The other time they don’t come into conflict. All those tools like preprocessors and task runners that just sit on your own computer, no direct effect on the end-user experience. Frankly, use whatever you like. It doesn’t make a direct effect on the end-user experience.

When we’re evaluating tools, there are all these questions to ask. Who benefits from the tool? If I choose to use this tool, will it benefit the users? Will it benefit the engineers? Neither? Both?

There are other questions we ask like, well, just how good is this tool? To evaluate that we ask; yeah, how well does it work? Does this tool do what it says it will do well?

This, of course, is a completely valid question to ask but there’s a corollary that I think is more valid and that’s to ask not just how well does it work but how well does it fail?

What happens when something goes wrong?

This is exactly why I think this layered approach makes sense because, if you build in this layered way, each one of these layers can fail well. If you build like this, then JavaScript can fail well. What if something goes wrong and you’ve got an error in your JavaScript? You fall back to something that still works. Not as great as it worked before, but it still works. It fails well.

These technologies on the web, they fail well by design. CSS fails well. Use a CSS property the browser doesn’t understand or CSS value. The browser just ignores it. It fails well.

HTML: Make up an HTML element. Throw it into a webpage. The browser doesn’t throw an error. The browser doesn’t stop parsing the webpage. It just ignores it and moves on. It fails well.

It actually makes sense to not jump ahead to the powerful stuff, to the top of the pace layers, but to try and build in layers and stay low for as long as possible. This is actually a principle, a principle that underlies the architecture of the web itself called the Principle of Least Power. You should choose the least powerful language for a given purpose, which seems really counterintuitive.

Why would I choose the least powerful language to do something? Surely, I want more power. The idea here is the power comes at an expense. Power comes at the expense of complexity, fragility. The more powerful technology is maybe more likely to fail badly.

Derek Featherstone put it well. He said:

In the web front-end stack—HTML, CSS, JavaScript, and ARIA—if you can solve a problem with a simpler solution lower in the stack, you should. It’s less fragile, more foolproof. It just works.

The example there was rollovers. How are you going to do rollovers? Do it in JavaScript? No, do it in CSS. :hover - done. Right? Oh, you need to make an interactive button? Use the button element. Be lazy.

This makes a lot of sense, the Principle of Least Power. It makes a lot of sense to me on the web, especially when you combine it with a universal law that definitely applies on the web, and that’s Murphy’s Law:

Anything that can possibly go wrong will go wrong.

This comes directly from the world of engineering. Edward Aloysius Murphy Jr. was an aerospace engineer. It’s because he had this attitude, he never lost anybody on his watch.

I think we tend to dismiss things going wrong as edge cases. We kind of assume the average output. Other industries, when they’re making cars, they test them. They strap crash test dummies in. They smack them into walls at high speed.

To be fair, a lot of the reason why they have to do that is because of regulation. They didn’t necessarily choose to do it, but still. Can you imagine if they went, well, actually, we realize that most people are going to drive cars on roads and people driving into walls is an edge case, so we’re not going to worry too much about that?

Now, obviously, you want to hope for the best but you should prepare for the worst. Trent Walton said:

Like cars designed to perform in extreme heat or on icy roads, websites should be built to face the reality of the web’s inherent variability.

The web’s inherent variability, that gets to the heart of it.

Dave Siegel was trying to battle with the pixel-perfect labels was the web’s inherent variability. What John Allsopp was calling was for us to embrace the web’s inherent variability. It’s a feature, not a bug.

Are we engineers? Can we call ourselves engineers? Well, let me tell you something from the world of structural engineering.

This is the plan for the Quebec Bridge in Canada, a cantilever bridge. Construction started at the start of the 20th Century. There was a competition to see who get to design and build a bridge because that’s the way the industry works.

The engineer in charge was named Theodore Cooper. Now, originally, the bridge was meant to be 490 meters long but Theodore Cooper changed the specification to make it 550 meters long, mostly because, up in Scotland, the Firth of Forth Bridge, that was the longest bridge in the world at the time, longest cantilever. He wanted this bridge to exceed that, so he made the bridge longer but he did not recalculate the already high stresses being placed on the material of the bridge.

Oh, also, Theodore Cooper refused to work on site. He was down in New York, supposedly overseeing construction from New York. And when it was proposed that somebody should check his calculations, he took that as a personal afront and said, “No, no, no. No, no, that won’t work,” so there was no code reviews happening on this project.

Now, someone was onsite, the young engineer named Norman McLure. By 1907, August 6th, he had started to notice that the steel was bending, getting a lot of stress. Then again, on August 27th, it had got worse.

Cooper was notified down in New York. He did send a telegram back to Quebec. He said, “Place no more load on Quebec bridge until all facts considered - stop.” But he was inferring that the work should stop. He never explicitly said, “Stop the work right now,” so the telegram was ignored and work continued.

On August 29th, 1907, the bridge collapsed. It was shortly before the end of the day. The whistle was just about to blow to signal the end of the working day. There were 86 workers on the bridge and 75 of them died.

Now, something started happening in Canada a few years after this, by 1925. Engineering schools in Canada started holding private ceremonies around graduation time. This was a ceremony that was separate from qualifications. This wasn’t about whether you were qualified to be an engineer. This was called The Ritual of the Calling of the Engineer. You would speak an obligation penned by Rudyard Kipling, which I won’t repeat here because it’s meant to stay within the confines of this ritual.

You would also receive an iron ring. This iron ring would be a symbol of pride of being an engineer, but also a symbol of humility. For the longest time, the myth persisted that the iron itself was made from the steel in the Quebec Bridge. It’s not true, but the Quebec Bridge certainly looms over the idea of the iron ring. You’d wear it on the little finger of your working hand, so it would brush against the paper or the computer keyboard during your working day as a constant reminder of your responsibility as an engineer.

The iron ring.

When we call ourselves engineers, I do have to ask, have we earned it? Do we take our responsibility seriously?

Maybe we don’t call ourselves engineers, but then what do we call ourselves? Does it even matter?

Builders

Well, we could go back to that original metaphor from the ’90s, under construction. Maybe we’re builders. We build things. The web is under construction. We’re the ones constructing it. It’s not so bad, you know, to be the ones literally building the web. It’s kind of awesome when you think about it.

Christopher Alexander, when he was talking about his reason for coming up with A Pattern Language, was because he said:

Most of the wonderful places in the world were not made by architects but by the people.

Maybe we’re at the bottom of the layer stack here as workers just building the web, but maybe we also have all the power — more power than we realize. Our collective power is greater than anything any architect could wield.

Yeah, maybe we’re builders. Maybe we’re bricklayers. I know Simon comes from a long line of bricklayers. It is a noble profession. Think about what our building blocks are, the building blocks of the World Wide Web.

The World Wide Web, I think, is the next great leap forward. We had language, writing, the printing press, and now hypertext in the form of the Word Wide Web. Who gets to build it? We do with this kind of building block: the URL, a link. What an amazing building block that is.

I can make a webpage and put two links on it linking to two different things. That combination of those two links has never existed before in the history of the web. We’ve created something new, link by link, building block by building block, building in layers.

I’m reminded of an apocryphal story may be from medieval times—who knows—a traveler coming across three workers. All three workers are doing the same thing. They’re building. They’re moving stones. They’re putting stones one on top of the other.

The traveler says to the first builder, “What are you doing?”

He says, “Oh, I’m moving stones.”

He says to the second builder, “What are you doing?” 
He says, “I’m building a wall.”

He says to the third builder, “What are you doing?”

He says, “I’m building a cathedral.”

They’re all doing the same task but thinking about it in different ways. Maybe that’s what we need to do. Forget about labels, metaphors, architecture, engineer, building, whatever. Just think about what a privilege it is to be doing this, to embrace the fact that we are the builders. We are the bricklayers.

Today, for example, we’re going to hear from quite an amazing collection of bricklayers that I’m really looking forward to hearing from. I want to hear what they’re building. I want to hear their stories of how they built it, why they built it.

But to do that, I need to stop moving air over these vocal cords and flapping this fleshy piece of meat around in my mouth and just stop talking. Thank you for listening.