Tuesday, November 30th, 2021
Friday, November 5th, 2021
Memories of Ajax
I just finished watching The Billion Dollar Code, a German language miniseries on Netflix. It’s no Halt and Catch Fire, but it combines ’90s nostalgia, early web tech, and an opportunity for me to exercise my German comprehension.
It’s based on a true story, but with amalgamated characters. The plot, which centres around the preparation for a court case, inevitably invites comparison to The Social Network, although this time the viewpoint is from that of the underdogs trying to take on the incumbent. The incumbent is Google. The underdogs are ART+COM, artist-hackers who created the technology later used by Google Earth.
Early on, one of the characters says something about creating a one-to-one model of the whole world. That phrase struck me as familiar…
I remember being at the inaugural Future Of Web Apps conference in London back in 2006. Discussing the talks with friends afterwards, we all got a kick out of the speaker from Google, who happened to be German. His content and delivery was like a wonderfully Stranglovesque mad scientist. I’m sure I remember him saying something like “vee made a vun-to-vun model of the vurld.”
His name was Steffen Meschkat. I liveblogged the talk at the time. Turns out he was indeed on the team at ART+COM when they created Terravision, the technology later appropriated by Google (he ended up working at Google, which doesn’t make for as exciting a story as the TV show).
His 2006 talk was all about Ajax, something he was very familiar with, being on the Google Maps team. The Internet Archive even has a copy of the original audio!
It’s easy to forget now just how much hype there was around Ajax back then. It prompted me to write a book about combining Ajax and progressive enhancement.
These days, no one talks about Ajax. But that’s not because the technology went away. Quite the opposite. The technology became so ubiquituous that it no longer even needs a label.
A web developer today might ask “what’s Ajax?” in the same way that a fish might ask “what’s water?”
Tuesday, November 2nd, 2021
Here’s the video of my latest conference talk—I really like how it turned out.
I’ve also published a transcript.
Tuesday, October 19th, 2021
A great talk from Dave on web components:
The talk makes a callback to my talk Building from a few years back. I like that. It feels like a long thoughtful converstation.
Thursday, October 7th, 2021
This is a terrific and nuanced talk that packs a lot into less than twenty minutes.
(The secret sauce in transitional web apps is progressive enhancement.)
Monday, September 6th, 2021
The annual day-long online accessibility event is back on September 23rd.
No sign-up. No registration. All sessions are streamed live and publicly on the Inclusive Design 24 YouTube channel.
Thursday, August 26th, 2021
Lara’s superb book on public speaking is now available in its entirity for free as a web book!
And a very beautiful web book it is too! All it needs is a service worker so it works offline.
Thursday, July 1st, 2021
Hosting online events
Back in 2014 Vitaly asked me if I’d be the host for Smashing Conference in Freiburg. I jumped at the chance. I thought it would be an easy gig. All of the advantages of speaking at a conference without the troublesome need to actually give a talk.
As it turned out, it was quite a bit of work:
It wasn’t just a matter of introducing each speaker—there was also a little chat with each speaker after their talk, so I had to make sure I was paying close attention to each and every talk, thinking of potential questions and conversation points. After two days of that, I was a bit knackered.
Last month, I hosted an other event, but this time it was online: UX Fest. Doing the post-talk interviews was definitely a little weirder online. It’s not quite the same as literally sitting down with someone. But the online nature of the event did provide one big advantage…
To minimise technical hitches on the day, and to ensure that the talks were properly captioned, all the speakers recorded their talks ahead of time. That meant I had an opportunity to get a sneak peek at the talks and prepare questions accordingly.
UX Fest had a day of talks every Thursday in June. There were four talks per Thursday. I started prepping on the Monday.
First of all, I just watched all the talks and let them wash me over. At this point, I’d often think “I’m not sure if I can come up with any questions for this one!” but I’d let the talks sit there in my subsconscious for a while. This was also a time to let connections between talks bubble up.
Then on the Tuesday and Wednesday, I went through the talks more methodically, pausing the video every time I thought of a possible question. After a few rounds of this, I inevitably ended up with plenty of questions, some better than others. So I then re-ordered them in descending levels of quality. That way if I didn’t get to the questions at the bottom of the list, it was no great loss.
In theory, I might not get to any of my questions. That’s because attendees could also ask questions on the day via a chat window. I prioritised those questions over my own. Because it’s not about me.
On some days there was a good mix of audience questions and my own pre-prepared questions. On other days it was mostly my own questions.
Either way, it was important that I didn’t treat the interview like a laundry list of questions to get through. It was meant to be a conversation. So the answer to one question might touch on something that I had made a note of further down the list, in which case I’d run with that. Or the conversation might go in a really interesting direction completely unrelated to the questions or indeed the talk.
Above all, these segments needed to be engaging and entertaining in a personable way, more like a chat show than a post-game press conference. So even though I had done lots of prep for interviewing each speaker, I didn’t want to show my homework. I wanted each interview to feel like a natural flow.
To quote the old saw, this kind of spontaneity takes years of practice.
There was an added complication when two speakers shared an interview slot for a joint Q&A. Not only did I have to think of questions for each speaker, I also had to think of questions that would work for both speakers. And I had to keep track of how much time each person was speaking so that the chat wasn’t dominated by one person more than the other. This was very much like moderating a panel, something that I enjoy very much.
In the end, all of the prep paid off. The conversations flowed smoothly and I was happy with some of the more thought-provoking questions that I had researched ahead of time. The speakers seemed happy too.
Y’know, there are not many things I’m really good at. I’m a mediocre developer, and an even worse designer. I’m okay at writing. But I’m really good at public speaking. And I think I’m pretty darn good at this hosting lark too.
Tuesday, June 22nd, 2021
This looks interesting: a free one-day Barcamp-like event online all about design systems for the public sector, organised by the Gov.uk design system team:
If you work on public sector services and work with design systems, you’re welcome to attend. We even have some tickets for people who do not work in the public sector. If you love design systems, we’re happy to have you!
Monday, June 21st, 2021
Talking about sci-fi
I gave my sci-fi talk last week at Marc’s Stay Curious event. I really like the format of these evening events: two talks followed by joint discussion, interspersed with music from Tobi. This particular evening was especially enjoyable, with some great discussion points being raised.
Steph and I had already colluded ahead of time on how we were going to split up the talks. She would go narrow and dive into one specific subgenre, solarpunk. I would go broad and give a big picture overview of science fiction literature.
Obviously I couldn’t possibly squeeze the entire subject of sci-fi into one short talk, so all I could really do was give my own personal subjective account. Hence, the talk is called Sci-fi and Me. I’ve published the transcript, uploaded the slides and the audio, and Marc has published the video on YouTube and Vimeo. Kudos to Tina Pham for going above and beyond to deliver a supremely accurate transcript with a super-fast turnaround.
I divided the talk into three sections. The first is my own personal story of growing up in small-town Ireland and reading every sci-fi book I could get my hands on from the local library. The second part was a quick history of sci-fi publishing covering the last two hundred years. The third and final part was a run-down of ten topics that sci-fi deals with. For each topic, I gave a brief explanation, mentioned a few books and then chose one that best represents that particular topic. That was hard.
- Planetary romance. I mentioned the John Carter books of Edgar Rice Burroughs, the Helliconia trilogy by Brian Aldiss, and the Riverworld saga by Philip José Farmer. I chose Dune by Frank Herbert.
- Space opera. I mentioned the Skylark and Lensman books by E.E. ‘Doc’ Smith, the Revelation Space series by Alastair Reynolds, and the Machineries of Empire books by Yoon Ha Lee. I chose Ancillary Justice by Ann Leckie.
- Generation starships. I mentioned Non-Stop by Brian Aldiss. I chose Aurora by Kim Stanley Robinson.
- Utopia. I mentioned the Culture novels by Iain M. Banks. I chose The Dispossessed by Ursula Le Guin
- Dystopia. I mentioned The Handmaid’s Tale by Margaret Atwood and Fahrenheit 451 by Ray Bradbury. I chose 1984 by George Orwell.
- Post-apocalypse. I mentioned The Drought and The Drowned World by J.G. Ballard, Day Of The Triffids by John Wyndham, The Road by Cormac McCarthy, and Oryx and Crake by Margaret Atwood. I chose Station Eleven by Emily St. John Mandel.
- Artificial intelligence. I mentioned Machines Like Me by Ian McEwan and Klara And The Sun by Kazuo Ishiguro. I chose I, Robot by Isaac Asimov.
- First contact. I mentioned The War Of The Worlds by H.G. Wells, Childhood’s End and Rendezvous With Rama by Arthur C. Clarke, Solaris by Stanislaw Lem, and Contact by Carl Sagan. I chose Stories Of Your Life And Others by Ted Chiang.
- Time travel. I mentioned The Time Machine by H.G. Wells, The Shining Girls by Lauren Beukes, and The Peripheral by William Gibson. I chose Kindred by Octavia Butler.
- Alternative history. I mentioned A Transatlantic Tunnel, Hurrah! by Harry Harrison. I chose The Man In The High Castle by Philip K. Dick.
- Cyberpunk. I mentioned Snowcrash by Neal Stephenson. I chose Neuromancer by William Gibson.
Okay, that’s eleven, not ten, but that last one is a bit of a cheat—it’s a subgenre rather than a topic. But it allowed me to segue nicely into Steph’s talk.
Here’s a list of those eleven books. I can recommend each and every one of them. Still, the problem with going with this topic-based approach was that some of my favourite sci-fi books of all time fall outside of any kind of classification system. Where would I put The Demolished Man by Alfred Bester, one of my all-time favourites? How could I classify Philip K. Dick books like Ubik, The Three Stigmata Of Palmer Eldritch, or A Scanner Darkly? And where would I even begin to describe the books of Christopher Priest?
But despite the inevitable gaps, I’m really pleased with how the overall talk turned out. I had a lot of fun preparing it and even more fun presenting it. It made a nice change from the usual topics I talk about. Incidentally, if you’ve got a conference or a podcast and you ever want me to talk about something other than the web, I’m always happy to blather on about sci-fi.
Here’s the talk. I hope you like it.
Saturday, June 19th, 2021
I’m going to talk about sci-fi, in general. Of course, there isn’t enough time to cover everything, so I’ve got to restrict myself.
First of all, I’m just going to talk about science fiction literature. I’m not going to go into film, television, games, or anything like that. But of course, in the discussion, I’m more than happy to talk about sci-fi films, television, and all that stuff. But for brevity’s sake, I thought I’ll just stick to books here.
Also, I can’t possibly give an authoritative account of all of science fiction literature, so it’s going to be very subjective. I thought what I can talk about is myself. In fact, it’s one of my favourite subjects.
So, that’s what I’m going to do. I’m going to talk about sci-fi and me.
So, let me tell you about my childhood. I grew up in a small town on the south coast of Ireland called Cobh. Here it is. It’s very picturesque when you’re looking at it from a distance. But I have to say, growing up there (in the 1970s and 1980s), there really wasn’t a whole lot to do.
There was no World Wide Web at this point. It was, frankly, a bit boring.
But there was one building in town that saved me, and that was this building here in the town square. This is the library. It was inside the library (amongst the shelves of books) that I was able to pass the time and find an escape.
It was here that I started reading the work, for example, of Isaac Asimov, a science fiction writer. He’s also a science writer. He wrote a lot of books. I think it might have even been a science book that got me into Isaac Asimov.
I was a nerdy kid into science, and I remember there was a book in the library that was essays and short stories. There’d be an essay about science followed by a short story that was science fiction, and it would keep going like that. It was by Isaac Asimov. I enjoyed those science fiction stories as much as the science, so I started reading more of his books, books about galactic empires, books about intelligent robots, detective stories but set on other planets.
There was a real underpinning of science to these books, hard science, in Isaac Asimov’s work. I enjoyed it, so I started reading other science fiction books in the library. I found these books by Arthur C. Clarke, which were very similar in some ways to Isaac Asimov in the sense that they’re very grounded in science, in the hard science.
In fact, the two authors used to get mistaken for one another in terms of their work. They formed an agreement. Isaac Asimov would graciously accept a compliment about 2001: A Space Odyssey and Arthur C. Clarke would graciously accept a compliment about the Foundation series.
Anyway, so these books, hard science fiction books, I loved them. I was really getting into them. There were plenty of them in the local library.
The other author that seemed to have plenty of books in the local library was Ray Bradbury. This tended to be more short stories than full-length novels and also, it was different to the Isaac Asimov and Arthur C. Clarke in the sense that it wasn’t so much grounded in the science. You got the impression he didn’t really care that much about how the science worked. It was more about atmosphere, stories, and characters.
These were kind of three big names in my formative years of reading sci-fi. I kind of went through the library reading all of the books by Isaac Asimov, Arthur C. Clarke, and Ray Bradbury.
Once I had done that, I started to investigate other books that were science fiction (in the library). I distinctly remember these books being in the library by Ursula K. Le Guin, The Left Hand of Darkness, and The Dispossessed. I read them and I really enjoyed them. They are terrific books.
These, again, are different to the hard science fiction of something like Isaac Asimov and Arthur C. Clarke. There were questions of politics and gender starting to enter into the stories.
Also, I remember there were two books by Alfred Bester, these two books, The Demolished Man and Tiger! Tiger! (also called The Stars My Destination). These were just wild. These were almost psychedelic.
I mean they were action-packed, but also, the writing style was action-packed. It was kind of like reading the Hunter S. Thompson of science fiction. It was fear and loathing in outer space.
These were opening my mind to other kinds of science fiction, and I also had my mind opened (and maybe warped) by reading the Philip K. Dick books that were in the library. Again, you got the impression he didn’t really care that much about the technology or the science. It was all about the stuff happening inside people’s heads, questioning what reality is.
At this point in my life, I hadn’t yet done any drugs. But reading Philip K. Dick kind of gave me a taste, I think, of what it would be like to do drugs.
These were also names that loomed large in my early science fiction readings: Ursula K. Le Guin, Alfred Bester, and Philip K. Dick.
Then there were the one-offs in the library. I remember coming across this book by Frank Herbert called Dune, reading it, and really enjoying it. It was spaceships and sandworms, but also kind of mysticism and environmentalism, even.
I remember having my tiny little mind blown by reading this book of short stories by Fredric Brown. They’re kind of like typical Twilight Zone short stories with a twist in the tale. I just love that.
I think a lot of science fiction short stories can almost be the natural home for it because there is one idea explored fairly quickly. Short stories are really good for that.
I remember reading stories about the future. What would the world be like in the year 1999? Like in Harry Harrison’s Make Room! Make Room! A tale of overpopulation that we all had to look forward to.
I remember this book by Walter M. Miller, A Canticle for Leibowitz, which was kind of a book about the long now (civilisations rising and falling). Again, it blew my little mind as a youngster and maybe started an interest I have to this day in thinking long-term.
So, this is kind of the spread of the science fiction books I read as a youngster, and I kept reading books after this. Throughout my life, I’ve read science fiction.
I don’t think it’s that unusual to read science fiction. In fact, I think just about anybody who reads has probably read science fiction because everyone has probably read one of these books. Maybe they’ve read Brave New World or 1984, some Kurt Vonnegut like Slaughterhouse 5 or The Sirens of Titan, the Margaret Atwood books like The Handmaid’s Tale, or Kazuo Ishiguro books.
Now, a lot of the time the authors of these books who are mainstream authors maybe wouldn’t be happy about having their works classified as sci-fi or science fiction. The term maybe was a little downmarket, so sometimes people will try to argue that these books are not science fiction even though clearly the premise of every one of these books is science fictional. But it’s almost like these books are too good to be science fiction. There’s a little bit of snobbishness.
Brian Aldiss has a wonderful little poem, a little couplet to describe this attitude. He said:
“SF is no good,” they cry until we’re deaf.
“But this is good.”
“Well, then it’s not SF!”
Recently, I found out that there’s a term for these books by mainstream authors that cross over into science fiction, and these are called slipstream books. I think everyone at some point has read a slipstream science fiction book that maybe has got them interested in diving further into science fiction.
What is sci-fi?
Now, the question I’m really skirting around here is, what is sci-fi? I’m not sure I can answer that question.
Isaac Asimov had a definition. He said it’s that branch of literature which deals with the reaction of human beings to changes in science and technology. I think that’s a pretty good description of his books and the hard science fiction books of Arthur C. Clarke. But I don’t think that that necessarily describes some of the other authors I’ve mentioned, so it feels a little narrow to me.
Pamela Sargent famously said that science fiction is the literature of ideas. There is something to that, like when I was talking about how short stories feel like a natural home for sci-fi because you’ve got one idea, you explore it in a short story, and you’re done.
But I also feel like that way of phrasing science fiction as the literature of ideas almost leaves something unsaid, like, it’s the literature of ideas as opposed to plot, characterisation, and all this other kind of stuff that happens in literature. I always think, why not both? You know. Why can’t we have ideas, plot, characters, and all the other good stuff?
Also, ideas aren’t unique to sci-fi. Every form of literature has to have some idea or there’s no point writing the book. Every crime novel has to have an idea behind it. So, I’m not sure if that’s a great definition either.
Maybe the best definition came from Damon Knight who said sci-fi is what we point to when we say it. It’s kind of, “I know it when I see it,” kind of thing. I think there’s something to that.
Any time you come up with a definition of sci-fi, it’s always hard to drive hard lines between sci-fi and other adjacent genres like fantasy. They’re often spoke about together, sci-fi and fantasy. I think I can tell the difference between sci-fi and fantasy, but I can’t describe the difference. I don’t think there is a hard line.
Science fiction feels like it’s looking towards the future, even when it isn’t. Maybe the sci-fi story isn’t actually set in the future. But it feels like it’s looking to the future and asking, “What if?” whereas fantasy feels like it’s looking to the past and asking, “What if?” But again, fantasy isn’t necessarily set in the past, and science fiction isn’t necessarily set in the future.
You could say, “Oh, well, science fiction is based on science, and fantasy is based on magic,” but any sci-fi book that features faster than light travel is effectively talking about magic, not science. So, again, I don’t think you can draw those hard lines.
There are other genres that are very adjacent and cross over with sci-fi and fantasy, like horror. You get sci-fi horror, fantasy horror. What about any mainstream book that has magical realism to it? You could say that’s a form of fantasy or science fiction.
Ultimately, I think this question, “What is sci-fi?” is a really interesting question if you’re a publisher. It’s probably important for you to answer this question if you are a publisher. But if you are a reader, honestly, I don’t think it’s that important a question.
What is sci-fi for?
There’s another question that comes on from this, which is, “What is sci-fi for? What’s its purpose?” Is it propaganda for science, almost like the way Isaac Asimov is describing it?
Sometimes, it has been used that way. In the 1950s and ’60s, it was almost like a way of getting people into science. Reading science fiction certainly influenced future careers in science, but that feels like a very limiting way to describe a whole field of literature.
Is sci-fi for predicting the future? Most sci-fi authors would say, “No, no, no.” Ray Bradbury said, “I write science fiction not to predict the future, but to prevent it.” But there is always this element of trying to ask what if and play out the variables into the future.
Frederik Pohl said, “A good science fiction story should be able to predict not the automobile but the traffic jam,” which is kind of a nice way of looking at how it’s not just prediction.
Maybe thinking about sci-fi as literature of the future would obscure the fact that actually, most science fiction tends to really be about today or the time it’s published. It might be set in the future but, often, it’s dealing with issues of the day.
Ultimately, it’s about the human condition. Really, so is every form of literature. So, I don’t think there’s a good answer for this either. I don’t think there’s an answer for the question, “What is sci-fi for?” that you could put all science fiction into.
Okay, so we’re going to avoid the philosophical questions. Let’s get down to something a bit more straightforward. Let’s have a history of science fiction and science fiction literature.
Caveats again: this is going to be very subjective, just as, like, my history. It’s also going to be a very Western view because I grew up in Ireland, a Western country.
Where would I begin the history of science fiction? I could start with the myths and legends and religions of most cultures, which have some kind of science fiction or fantasy element to them. You know, the Bible, a work of fantasy.
But if I wanted to start with what I would think is the modern birth of the sci-fi novel, I think Mary Wollstonecraft Shelley’s Frankenstein or The Modern Prometheus could be said to be the first sci-fi novel and invents a whole bunch of tropes that we still use to this day: the mad scientist meddling with powers beyond their control.
It’s dealing with electricity, and I talked about how sci-fi is often about topics of the day, and this is when electricity is just coming on the scenes. There are all sorts of questions about the impact of electricity and science fiction is a way of exploring this.
Talking about reanimating the dead, also kind of talking about artificial intelligence. It set the scene for a lot of what was to come.
Later, in the 19th Century, in the 1860s, and then the 1890s, we have these two giants of early science fiction. In France, we have Jules Verne, and he’s writing books like 20,000 Leagues Under the Sea, From Earth to the Moon, and Journey to the Centre of the Earth, these adventure stories with technology often at the Centre of them.
Then in England, we have H.G. Wells, and he’s creating entire genres from scratch. He writes The Time Machine, War of the Worlds, The Invisible Man, The Island of Doctor Moreau.
Over in America, you’ve got Edgar Allan Poe mostly doing horror, but there’s definitely sci-fi or fantasy aspects to what he’s doing.
Now, as we get into the 20th Century, where sci-fi really starts to boom – even though the term doesn’t exist yet – is with the pulp fiction in the 1920s, 1930s. This is literally pulp paper that cheap books are written on. They were cheap to print. They were cheap for the authors, too. As in, the authors did not get paid much. People were just churning out these stories. There were pulp paperbacks and also magazines.
Hugo Gernsback, here in the 1920s, he was the editor of Amazing Stories, and he talked about scientification stories. That was kind of his agenda.
Then later, in the 1930s, John W. Campbell became the editor of Astounding Stories. In 1937, he changed the name of it from Astounding Stories to Astounding Science Fiction. This is when the term really comes to prominence.
He does have an agenda. He wants stories grounded in plausible science. He wants that hard kind of science.
What you have here, effectively, is yes the genre is getting this huge boost, but also you’ve got gatekeepers. You’ve got two old, white dude gatekeepers kind of deciding what gets published and what doesn’t. It’s setting the direction.
What happens next, though, is that a lot of science fiction does get published. A lot of good science fiction gets published in what’s known as the Golden Age of Science Fiction in the 1940s and 1950s. This, it turns out, is when authors like Isaac Asimov, Ray Bradbury, and Heinlein are publishing those early books I was reading in the library. I didn’t realise it at the time, but they were books from the Golden Age of Science Fiction.
This tended to be the hard science fiction. It’s grounded in technology. It’s grounded in science. There tend to be scientific explanations for everything in the books.
It’s all good stuff. It’s all enjoyable. But there’s an interesting swing of the pendulum in the 1960s and ’70s. This swing kind of comes from Europe, from the UK. This is known as the New Wave. That term was coined by Michael Moorcock in New Worlds magazine that he was the editor of.
It’s led by these authors like Brian Aldiss and J.G. Ballard where they’re less concerned with outer space and they’re more concerned with inner space: the mind, language, drugs, the inner world. It’s some exciting stuff, quite different to the hard science that’s come before.
Like I say, it started in Europe, but then there was also this wave of it in America, broadening the scope of what sci-fi could be. You got less gatekeeping and you got more new voices. You got Ursula K. Le Guin and Samuel R. Delaney expanding what sci-fi could be.
That trend continued into the 1980s when you began to see the rise of authors like Octavia Butler who, to this day, has a huge influence on Afrofuturism. You’re getting more and more voices. You’re getting a wider scope of what science fiction could be.
I think the last big widening of sci-fi happened in the 1980s with William Gibson. He practically invented (from scratch) the genre of cyberpunk. If Mary Shelley was concerned with electricity then, by the 1980s, we were all concerned with computers, digital networks, and technology.
The difference with cyberpunk is where the Asimov story or Clarke story might be talking about someone in a position of power (a captain or an astronaut) and how technology impacts them, cyberpunk is kind of looking at technology at the street level when the street finds its own uses for things. That was expanded into other things as well.
After the 1980s, we start to get the new weird. We get people like Jeff Noon, China Mieville, and Jeff VanderMeer writing stuff. Is it sci-fi? Is it fantasy? Who knows?
Which brings us up to today. Today, we have, I think, a fantastic range of writers writing a fantastic range of science fiction, like Ann Leckie with her Imperial Radch stories, N.K. Jemisin with the fantastic Broken Earth trilogy, Yoon Ha Lee writing Machineries of Empire, and Ted Chiang with terrific short stories and his collections like Exhalation. I wouldn’t be surprised if, in the future, we look back on now as a true Golden Age of Science Fiction where it is wider, there are more voices and, frankly, more interesting stories.
Okay, so on the home stretch, I want to talk about the subjects of science fiction, the topics that sci-fi tends to cover. I’m going to go through ten topics of science fiction, list off what the topic is, name a few books, and then choose one book to represent that topic. It’s going to be a little tricky, but here we go.
Okay, so planetary romance is a sci-fi story that’s basically set on a single planet where the planet is almost like a character: the environment of the planet, the ecosystem of the planet. This goes back a long way. The Edgar Rice Burroughs stories of John Carter of Mars were kind of early planetary romance and even spawned a little sub-genre of Sword and Planet*.
Brian Aldiss did a terrific trilogy called Helliconia, a series where the orbits of a star system are kind of the driving force behind the stories that take place over generations.
Philip Jose Farmer did this fantastic series (the Riverworld series). Everyone in history is reincarnated on this one planet with a giant river spanning it.
If I had to pick one planetary romance to represent the genre, I am going to go with a classic. I’m going to go with Dune by Frank Herbert. It really is a terrific piece of work.
Space opera, the term was intended to denigrate it but, actually, it’s quite fitting. Space opera is what you think of when you think of sci-fi. It’s intergalactic empires, space battles, and good rip-roaring yarns. You can trace it back to these early works by E.E. ’Doc’ Smith. It’s the good ol’ stuff.
Space opera has kind of fell out of favour for a while there, but it started coming back in the last few decades. It got some really great, hard sci-fi space opera by Alastair Reynolds and, more recently, Yoon Ha Lee with Ninefox Gambit – all good stuff.
But if I had to pick one space opera book to represent the genre, I’m going to go with Ancillary Justice by Ann Leckie. It is terrific. It’s like taking Asimov, Clarke, Ursula K. Le Guin, and the best of all of them, and putting them all into one series – great stuff.
Now, in space opera, generally, they come up with some way of being able to travel around the galaxy in a faster than light, warp speed, or something like that, which makes it kind of a fantasy, really.
If you accept that you can’t travel faster than light, then maybe you’re going to write about generation starships. This is where you accept that you can’t zip around the galaxy, so you have to take your time getting from star system to star system, which means it’s multiple generations.
Brian Aldiss’s first book was a generation starship book called Non-Stop. But there’s one book that I think has the last word on generation starships, and it’s by Kim Stanley Robinson. It is Aurora. I love this book, a really great book. Definitely the best generation starship book there is.
All right. What about writing about utopias? Funnily enough, not as many utopias as there are the counterpart. Maybe the most famous utopias in recent sci-fi is from Ian M. Banks with his Culture series. The Culture is a socialist utopia in space post-scarcity. They’re great space opera galaxy-spanning stuff.
What’s interesting, though, is most of the stories are not about living in a utopia because living in a post-scarcity utopia is, frankly, super boring. All the stories are about the edge cases. All the stories are literally called special circumstances.
All good fun, but the last word on utopian science fiction must go to Ursula Le Guin with The Dispossessed. It’s an anarcho-syndicalist utopia – or is it? It depends on how you read it.
I definitely have some friends who read this like it was a manual and other friends who read it like it was a warning. I think, inside every utopia, there’s a touch of dystopia, and dystopias are definitely the more common topic for science fiction. Maybe it’s easier to ask, “What’s the worst that can happen?” than to ask, “What’s the best that can happen?”
A lot of the slipstream books would be based on dystopias like Margaret Atwood’s terrific The Handmaid’s Tale. I remember being young and reading (in that library) Fahrenheit 541 by Ray Bradbury, a book about burning books – terrific stuff.
But I’m going to choose one. If I’m going to choose one dystopia, I think I have to go with a classic. It’s never been beat. George Orwell’s 1984, the last word on dystopias. It’s a fantastic work, fantastic piece of literature.
I think George Orwell’s 1984 is what got a lot of people into reading sci-fi. With me, it almost went the opposite. I was already reading sci-fi. But after reading 1984, I ended up going to read everything ever written by George Orwell, which I can highly recommend. There’s no sci-fi, but a terrific writer.
All right. Here’s another topic: a post-apocalypse story. You also get pre-apocalypse stories like, you know, there’s a big asteroid coming or there’s a black hole in the Centre of the Earth or something, and how we live out our last days. But, generally, authors tend to prefer post-apocalyptic settings, whether that’s post-nuclear war, post environmental catastrophe, post-plague. Choose your disaster and then have a story set afterward.
J. G. Ballard, he writes stories about not enough water, too much water, and I think it’s basically he wants to find a reason to put his characters in large, empty spaces because that’s what he enjoys writing about.
Very different, you’d have the post-apocalyptic stories of someone like John Wyndham, somewhat derided by Brian Aldiss’s cozy catastrophes. Yes, the world is ending, but we’ll make it back home in time for tea.
At the complete other extreme from that, you would have something like Cormac McCarthy’s The Road, which is relentlessly grim tale of post-apocalypse.
I almost picked Margaret Atwood’s Oryx and Crake trilogy for the ultimate post-apocalyptic story, and it’s really great stuff post-plague, genetically engineered plague – very timely.
But actually, even more timely – and a book that’s really stayed with me – is Station Eleven by Emily St. John Mandell. Not just because the writing is terrific and it is a plague book, so, yes, timely, but it also tackles questions like: What is art for? What is the human condition all about?
All right. Another topic that’s very popular amongst the techies, artificial intelligence, actual artificial intelligence, not what we in the tech world called artificial intelligence, which is a bunch of if/else statements.
Stories of artificial intelligence are also very popular in slipstream books from mainstream authors like recently we had a book from Ian McEwan. We had a new book from Kazuo Ishiguro tackling this topic.
But again, I’m going to go back to the classic, right back to my childhood, and I’ll pick I, Robot, a collection of short stories by Isaac Asimov, where he first raises this idea of three laws of robotics – a word he coined, by the way, robotics from the Czech word for robot.
These three laws are almost like design principles for artificial intelligence. All the subsequent works in this genre kind of push at those design principles. It’s good stuff. Not to be confused with the movie with the same name.
Here’s another topic: first contact with an alien species. Well, sometimes the first contact doesn’t go well and the original book on this is H.G. Wells The War of the Worlds. Every other alien invasion book since then has kind of just been a reworking of The War of the Worlds. It’s terrific stuff.
For more positive views on first contact stories, Arthur C. Clarke dives into books like Childhood’s End. In Rendezvous with Rama, what’s interesting is we don’t actually contact the alien civilisation but we have an artifact that we must decode and get information from. It’s good stuff.
More realistically, though, Solaris by Stanislaw Lem is frustrating because it’s realistic in the sense that we couldn’t possibly understand an alien intelligence. In the book – spoiler alert – we don’t.
For realism set in the world of today, Carl Sagan’s book Contact is terrific. Well worth a read. It really tries to answer what would a first contact situation look like today.
But I’ve got to pick one first contact story, and I’m actually going to go with a short story, and it’s Stories of Your Life by Ted Chaing. I recommend getting the whole book and reading every short story in it because it’s terrific.
This is the short story that the film Arrival was based on, which is an amazing piece of work because I remember reading this fantastic short story and distinctly thinking, “This is unfilmable. This could only exist in literature.” Yet, they did a great job with the movie, which bodes well for the movie of Dune, which is also being directed by Denis Villeneuve.
All right. Time travel as a topic. I have to say I think that time travel is sometimes better handled in media like TV and movies than it is in literature. That said, you’ve got the original time travel story. Again, H.G. Wells just made this stuff from scratch, and it really holds up. It’s a good book. I mean it’s really more about class warfare than it is about time travel, but it’s solid.
Actually, I highly recommend reading a nonfiction book called Time Travel by James Gleick where he looks at the history of time travel as a concept in both fiction and in physics.
You’ve got some interesting concepts like Lauren Beukes’s The Shining Girls, which, as is the premise, time-traveling serial killer, which is a really interesting mashup of genres. You’ve got evidence showing up out of chronological sequence.
By the way, this is being turned into a TV show as we speak, as is The Peripheral by William Gibson, a recent book by him. It’s terrific.
What I love about this, it’s a time travel story where the only thing that travels in time is information. But that’s enough with today’s technology, so it’s like a time travel for remote workers. Again, very timely, as all of William Gibson’s stuff tends to be.
But if I’ve got to choose one, I’m going to choose Kindred by Octavia Butler because it’s just such as a terrific book. To be honest, the time travel aspect isn’t the Centre of the story but it’s absolutely worth reading as just a terrific, terrific piece of literature.
Now, in time travel, you’ve generally got two kinds of time travel. You’ve got the closed-loop time travel, which is kind of like a Greek tragedy. You try and change the past but, in trying to change it, you probably bring about the very thing you were trying to change. The Shining Girls were something like that.
Or you have the multiverse version of time travel where going back in time forks the universe, and that’s what The Peripheral is about. That multiverse idea is explored in another subgenre, which is alternative history, which kind of asks, “What if something different had happened in history?” and then plays out the what-if from there. Counterfactuals, they’re also known as.
I remember growing up and going through the shelves of that library in Cobh, coming across this book, A Transatlantic Tunnel. Hurrah! by Harry Harrison. It’s set in a world where the American War of Independence failed and now it’s the modern-day. The disgraced descendant of George Washington is in charge of building a transatlantic tunnel for the British Empire.
That tends to be the kind of premise that gets explored in alternative history is what if another side had won the war. There’s a whole series of books set in a world where the South won the Civil War in the United States.
For my recommendation, though, I’m going to go with The Man in the High Castle, which is asking what if the other side won the war. In this case, it’s WWII. It’s by Philip K. Dick. I mean it’s not my favourite Philip K. Dick book, but my favourite Philip K. Dick books are so unclassifiable, I wouldn’t be able to put them under any one topic, and I have to get at least one Philip K. Dick book in here.
A final topic and, ooh, this is a bit of a cheat because it’s not really a topic – it’s a subgenre – cyberpunk. But as I said, cyberpunk deals with the topic of computers or networked computers more specifically, and there’s some good stuff like Neal Stephenson’s Snow Crash. Really ahead of its time. It definitely influenced a lot of people in tech.
Everyone I know that used to work in Linden Lab, the people who were making Second Life, when you joined, you’re basically handled Snow Crash on your first day and told, “This is what we’re trying to build here.”
But if I’ve got to pick one cyberpunk book, you can’t beat the original Neuromancer by William Gibson. Just terrific stuff.
What’s interesting about cyberpunk is, yes, it’s dealing with the technology of computers and networks, but it’s also got this atmosphere, a kind of noir atmosphere that William Gibson basically created from scratch. Then a whole bunch of other genres spun off from that asking, “Well, what if we could have a different atmosphere?” and explore stories like steampunk. It’s kind of like, “Well, what if the Victorians had computers and technology? What would that be like?”
Basically, if there’s a time in history that you like the aesthetic of, there’s probably a subgenre ending in the word “punk” that describes that aesthetic. You can go to conventions, and you can have your anime and your manga and your books and your games set in these kind of subgenres. They are generally, like I say, about aesthetics with the possible exception of solarpunk, which is what Steph is going to talk about.
Living in the future
I am going to finish with these books as my recommendations for a broad range of topics of science fiction from 50 years of reading science fiction. I think about if I could go back and talk to my younger self in that town in the south coast of Ireland about the world of today. I’m sure it would sound like a science fictional world.
By the way, I wouldn’t go back in time to talk to my younger self because I’ve read enough time travel stories to know that that never ends well. But still, here we are living in the future. I mean this past year with a global pandemic, that is literally straight out of a bunch of science fiction books.
But also, just the discoveries and advancements we’ve made are science fictional. Like when I was growing up and reading science books in that library, we didn’t know if there were any planets outside our own solar system. We didn’t know if exoplanets even existed.
Now, we know that most solar systems have their own planets. We’re discovering them every day. It’s become commonplace.
We have sequenced the human genome, which is a remarkable achievement for a species.
And we have the World Wide Web, this world-spanning network of information that you can access with computers in your pockets. Amazing stuff.
But of all of these advancements by our species, if I had to pick the one that I think is in some ways the most science-fictional, the most far-fetched idea, I would pick the library. If libraries didn’t exist and you tried to make them today, I don’t think you could succeed. You’d be laughed out of the venture capital room, like, “How is that supposed to work?” It sounds absolutely ridiculous, a place where people can go and read books and take those books home with them without paying for them. It sounds almost too altruistic to exist.
But Ray Bradbury, for example, I know he grew up in the library. He said, “I discovered me in the library. I went to find me in the library.” He was a big fan of libraries. He said, “Reading is at the Centre of our lives. The library is our brain. Without the library, you have no civilisation.” He said, “Without libraries, what have we? Have no past and no future.”
So, to end this, I’m not going to end with a call to read lots of sci-fi. I’m just going to end with a call to read – full stop. Read fiction, not just non-fiction. Read fiction. It’s a way of expanding your empathy.
And defend your local library. Use your local library. Don’t let your local library get closed down.
We are living in the future by having libraries. Libraries are science fictional.
With that, thank you.
Here’s the video of the talk I gave on Wednesday evening all about my relationship with reading science fiction. There are handy chapter markers if you want to jump around.
Tuesday, June 8th, 2021
Here’s a great write-up (with sketch notes) of last week’s conference portion of UX Fest:
There was a through-line of ethics through the whole conference that I enjoyed. The “design is the underdog” is tired and no longer true. I think that asking ourselves “now that we are here, how do we avoid causing harm?” is a much more mature conversation.
Monday, June 7th, 2021
Weighing up UX
You can listen to an audio version of Weighing up UX.
This is the month of UX Fest 2021—this year’s online version of UX London. The festival continues with masterclasses every Tuesday in June and a festival day of talks every Thursday (tickets for both are still available). But it all kicked off with the conference part last week: three back-to-back days of talks.
I have the great pleasure of hosting the event so not only do I get to see a whole lot of great talks, I also get to quiz the speakers afterwards.
Right from day one, a theme emerged that continued throughout the conference and I suspect will continue for the rest of the festival too. That topic was metrics. Kind of.
See, metrics come up when we’re talking about A/B testing, growth design, and all of the practices that help designers get their seat at the table (to use the well-worn cliché). But while metrics are very useful for measuring design’s benefit to the business, they’re not really cut out for measuring user experience.
People have tried to quantify user experience benefits using measurements like NetPromoter Score, which is about as useful as reading tea leaves or chicken entrails.
So we tend to equate user experience gains with business gains. That makes sense. Happy users should be good for business. That’s a reasonable hypothesis. But it gets tricky when you need to make the case for improving the user experience if you can’t tie it directly to some business metric. That’s when we run into the McNamara fallacy:
Making a decision based solely on quantitative observations (or metrics) and ignoring all others.
The way out of this quantitative blind spot is to use qualitative research. But another theme of UX Fest was just how woefully under-represented researchers are in most organisations. And even when you’ve gone and talked to users and you’ve got their stories, you still need to play that back in a way that makes sense to the business folks. These are stories. They don’t lend themselves to being converted into charts’n’graphs.
And so we tend to fall back on more traditional metrics, based on that assumption that what’s good for user experience is good for business. But it’s a short step from making that equivalency to flipping the equation: what’s good for the business must, by definition, be good user experience. That’s where things get dicey.
Broadly speaking, the talks at UX Fest could be put into two categories. You’ve got talks covering practical subjects like product design, content design, research, growth design, and so on. Then you’ve got the higher-level, almost philosophical talks looking at the big picture and questioning the industry’s direction of travel.
The tension between these two categories was the highlight of the conference for me. It worked particularly well when there were back-to-back talks (and joint Q&A) featuring a hands-on case study that successfully pushed the needle on business metrics followed by a more cautionary talk asking whether our priorities are out of whack.
For example, there was a case study on growth design, which emphasised the importance of A/B testing for validation, immediately followed by a talk on deceptive dark patterns. Now, I suspect that if you were to A/B test a deceptive dark pattern, the test would validate its use (at least in the short term). It’s no coincidence that a company like Booking.com, which lives by the A/B sword, is also one of the companies sued for using distressing design patterns.
Using A/B tests alone is like using a loaded weapon without supervision. They only tell you what people do. And again, the solution is to make sure you’re also doing qualitative research—that’s how you find out why people are doing what they do.
But as I’ve pondered the lessons from last week’s conference, I’ve come to realise that there’s also a danger of focusing purely on the user experience. Hear me out…
At one point, the question came up as to whether deceptive dark patterns were ever justified. What if it’s for a good cause? What if the deceptive dark pattern is being used by an organisation actively campaigning to do good in the world?
In my mind, there was no question. A deceptive dark pattern is wrong, no matter who’s doing it.
(There’s also the problem of organisations that think they’re doing good in the world: I’m sure that every talented engineer that worked on Google AMP honestly believed they were acting in the best interests of the open web even as they worked to destroy it.)
Where it gets interesting is when you flip the question around.
Suppose you’re a designer working at an organisation that is decidedly not a force for good in the world. Say you’re working at Facebook, a company that prioritises data-gathering and engagement so much that they’ll tolerate insurrectionists and even genocidal movements. Now let’s say there’s talk in your department of implementing a deceptive dark pattern that will drive user engagement. But you, being a good designer who fights for the user, take a stand against this and you successfully find a way to ensure that Facebook doesn’t deploy that deceptive dark pattern.
Does that count as being a good user experience designer? Yes, you’ve done good work at the coalface. But the overall business goal is like a deceptive dark pattern that’s so big you can’t take it in. Is it even possible to do “good” design when you’re inside the belly of that beast?
Facebook is a relatively straightforward case. Anyone who’s still working at Facebook can’t claim ignorance. They know full well where that company’s priorities lie. No doubt they sleep at night by convincing themselves they can accomplish more from the inside than without. But what about companies that exist in the grey area of being imperfect? Frankly, what about any company that relies on surveillance capitalism for its success? Is it still possible to do “good” design there?
There are no easy answers and that’s why it so often comes down to individual choice. I know many designers who wouldn’t work at certain companies …but they also wouldn’t judge anyone else who chooses to work at those companies.
At Clearleft, every staff member has two levels of veto on client work. You can say “I’m not comfortable working on this”, in which case, the work may still happen but we’ll make sure the resourcing works out so you don’t have anything to do with that project. Or you can say “I’m not comfortable with Clearleft working on this”, in which case the work won’t go ahead (this usually happens before we even get to the pitching stage although there have been one or two examples over the years where we’ve pulled out of the running for certain projects).
Going back to the question of whether it’s ever okay to use a deceptive dark pattern, here’s what I think…
It makes no difference whether it’s implemented by ProPublica or Breitbart; using a deceptive dark pattern is wrong.
But there is a world of difference in being a designer who works at ProPublica and being a designer who works at Breitbart.
That’s what I’m getting at when I say there’s a danger to focusing purely on user experience. That focus can be used as a way of avoiding responsibility for the larger business goals. Then designers are like the soldiers on the eve of battle in Henry V:
For we know enough, if we know we are the kings subjects: if his cause be wrong, our obedience to the king wipes the crime of it out of us.
Sunday, May 23rd, 2021
Speaking about sci-fi
I’m going to be speaking at the Beyond Tellerrand “Stay Curious” event on June 16th. But I’m not going to be talking about anything (directly) web-related…
The topic for the evening is science fiction. There’ll be a talk from me, a talk from Steph, and then a discussion, which I’m really looking forward to.
I got together with Steph last week, which was really fun—we could’ve talked for hours! We compared notes and figured out a way to divvy up the speaking slots. Steph is going to do a deep dive into one specific subgenre of sci-fi. So to set the scene, I’m going to give a broad but shallow overview of the history of sci-fi. To keep things managable, I’m only going to be talking about sci-fi literature (although we can get into films, TV, and anything else in the discussion afterwards).
But I don’t want to just regurgitate facts like a Wikipedia article. I’ve decided that the only honest thing to do is give my own personal history with sci-fi. Instead of trying to give an objective history, I’m going to tell a personal story …even if that means being more open and vulnerable.
I think I’ve got the arc of the story I want to tell. I’ve been putting slides together and I’m quite excited now. I’ve realised I’ve got quite a lot to say. But I don’t want the presentation to get too long. I want to keep it short and snappy so that there’s plenty of time for the discussion afterwards. That’s going to be the best part!
That’s where you come in. The discussion will be driven by the questions and chat from the attendees. Tickets are available on a pay-what-you-want basis, with a minimum price of just €10. It’ll be an evening event, starting at 6:30pm UK time, 7:30pm in central Europe. So if you’re in the States, that’ll be your morning or afternoon.
Come along if you have any interest in sci-fi. If you have no interest in sci-fi, then please come along—we can have a good discusison about it.
Thursday, May 13th, 2021
Hosting UX Fest
I quite enjoy interviewing people. I don’t mean job interviews. I mean, like, talk show interviews. I’ve had a lot of fun over the years moderating panel discussions: @media Ajax in 2007, SxSW in 2008, Mobilism in 2011, the Progressive Web App Dev Summit and EnhanceConf in 2016.
I’ve even got transcripts of some panels I’ve moderated:
- @media 2007 Hot Topics Panel
- Building Portable Social Networks at SxSW 2008,
- @media 2010 Hot Topics Panel,
- Mobilism 2011 Mobile Browser Panel,
- @media 2011 Hot Topics Panel.
I enjoyed each and every one. I also had the pleasure of interviewing the speakers at every Responsive Day Out. Hosting events like that is a blast, but what with The Situation and all, there hasn’t been much opportunity for hosting conferences.
Well, I’m going to be hosting an event next month: UX Fest. It’s this year’s online version of UX London.
An online celebration of digital design, taking place throughout June 2021.
I am simultaneously excited and nervous. I’m excited because I’ll have the chance to interview a whole bunch of really smart people. I’m nervous because it’s all happening online and that might feel quite different to an in-person discussion.
But I have an advantage. While the interviews will be live, the preceding talks will be pre-recorded. That means I have to time watch and rewatch each talk, spot connections between them, and think about thought-provoking questions for each speaker.
So that’s what I’m doing between now and the beginning of June. If you’d like to bear witness to the final results, I encourage you to get a ticket for UX Fest. You can come to the three-day conference in the first week of June, or you can get a ticket for the festival spread out over the following three Thursdays in June, or you can get a combo ticket for both and save some money.
There’s an inclusion programme for the conference and festival days:
Anyone from an underrepresented group is invited to apply. We especially invite and welcome Black, indigenous & people of colour, LGBTQIA+ people and people with disabilities.
There’ll also be a whole bunch of hands-on masterclasses throughout June that you can book individually. I won’t be hosting those though. I’ll have plenty to keep me occupied hosting the conference and the festival.
Monday, May 10th, 2021
The Clearleft podcast is currently between seasons, but that’s not going to stop me from yapping on in audio files at any opportunity.
I’ve been continuing my audio narration of Jay Hoffman’s excellent Web History series over on CSS tricks. We’re eight chapters in already! That’s a good few hours of audio—each chapter is over half an hour long.
The latest chapter was a joy to narrate. It’s all about the history of CSS so I remember many of the events that are mentioned, like when Tantek saved the web by implenting doctype switching (seriously, I honestly believe that if that hadn’t happened, CSS wouldn’t have “won”). Eric is in there. And Molly. And Elika. And Chris. And Dave.
If you’re not completely sick of hearing my voice, you can also listen to the latest episode of the Object Oriented UX podcast with Sophia V. Prater. Our chat starts about eleven minutes into the episode and goes on for a good hour.
It was nice to be on the other side of the microphone, so to speak. The topic was Resilient Web Design but the conversation went in all sorts of directions.
I do enjoy a good natter. If you’ve got a podcast and you fancy having a chat, let me know.
Wednesday, May 5th, 2021
I’m excited to do this event with Steph! We’ll be talking about science fiction on the evening of Wednesday, June 16th.
Tickets are from just €10 so grab yours now!
Tuesday, April 20th, 2021
The State of the Web — the links
I wrote about preparing this talk and you can see the outline on Kinopio. I thought it turned out well, but I never actually know until people see it. So I’m very gratified and relieved that it went down very well indeed. Phew!
Eric and the gang at An Event Apart asked for a round-up of links related to this talk and I was more than happy to oblige. I’ve separated them into some of the same categories that the talk covers.
I know that these look like a completely disconnected grab-bag of concepts—you’d have to see the talk to get the connections. But even without context, these are some rabbit holes you can dive down…
- Earthrise by Emmanuel Vaughan-Lee on Vimeo, 2018.
- Earthrise by Amanda Gorman on YouTube, 2018.
- They Saw Earth From Space. Here’s How It Changed Them by Nadia Drake in National Geographic, 2018.
- Seeing the Whole Earth from Space Changed Everything by Ahmed Kabil for The Long Now Foundation, 2018.
- As We May Think by Vannevar Bush in The Atlantic Monthly, 1945.
- The Demo by Douglas Engelbart, 1968.
- Information Management: A Proposal by Tim Berners-Lee, 1989.
The World Wide Web
- proposed new tag: IMG by Marc Andreessen to www-talk, 1993.
- What is a Polyfill? by Remy Sharp, 2010.
- Stop solving problems you don’t yet have by Rachel Andrew, 2012.
- Re: More granularity for font-weight? by Håkon Wium Lie to www-style, 2015.
- Clean advertising on adactio.com, 2020.
- 2021 Predictions for UX and Front-End Experts (PDF) by Ire Aderinokun et al. for An Event Apart, 2021.
- Poppy Northcutt: The Woman Who Took Us to the Stars by Apriya Rai, 2020.
- Katherine Johnson Biography by Margot Lee Shetterly, 2020.
- Margaret Hamilton interview by Zoë Corbyn in The Guardian, 2019.
Monday, April 12th, 2021
Here’s the video of the talk I gave at the Web Stories conference back in February.