Tags: web



Saturday, January 16th, 2021

Enable/unmute WebAudio on iOS, even while mute switch is on

Remember when I wrote about Web Audio weirdness on iOS? Well, this is a nice little library that wraps up the same hacky solution that I ended up using.

It’s always gratifying when something you do—especially something that feels so hacky—turns out to be independently invented elsewhere.

Carbon Dioxide Removal Primer

A Creative Commons licensed web book that you can read online.

Carbon dioxide removal at a climate-significant scale is one of the most complex endeavors we can imagine, interlocking technologies, social systems, economies, transportation systems, agricultural systems, and, of course, the political economy required to fund it. This primer aims to lower the learning curve for action by putting as many facts as possible in the hands of the people who will take on this challenge. This book can eliminate much uncertainty and fear, and, we hope, speed the process of getting real solutions into the field.

Wednesday, January 6th, 2021

Should The Web Expose Hardware Capabilities? — Smashing Magazine

This is a very thoughtful and measured response to Alex’s post Platform Adjacency Theory.

Unlike Alex, the author doesn’t fire off cheap shots.

Also, I’m really intrigued by the idea of certificate authorities for hardware APIs.

Tuesday, January 5th, 2021

Is Progressive Enhancement Dead Yet? (Webbed Briefs)

Heydon’s newest short video is right up my alley.

Monday, January 4th, 2021

Robin Rendle › Newsletters

A rant from Robin. I share his frustration and agree with his observations.

I wonder how we can get the best of both worlds here: the ease of publishing newsletters, with all the beauty and archivability of websites.

Thursday, December 31st, 2020

2020 in numbers

I posted to adactio.com 1442 times in 2020. sparkline

March was the busiest month with 184 posts. sparkline

This month, December, was the quietest with 68 posts. sparkline

Overall I published:

In amongst those notes are 128 photos. But the number I’m happiest with is 200. From to March 18th to October 3rd, I posted a tune a day for 200 days straight.

Elsewhere in 2020:

For obvious reasons, in 2020 I had far fewer check ins, did far less speaking and almost no travel.

Words I wrote in 2020

Once again I wrote over a hundred blog posts this year. While lots of other activities dropped off significantly while my main focus was to just keep on keepin’ on, I still found solace and reward in writing and publishing. Like I said early on in The Situation, my website is an outlet for me:

While you’re stuck inside, your website is not just a place you can go to, it’s a place you can control, a place you can maintain, a place you can tidy up, a place you can expand. Most of all, it’s a place you can lose yourself in, even if it’s just for a little while.

Here are some blog posts that turned out alright:

  • Architects, gardeners, and design systems. Citing Frank Chimero, Debbie Chachra, and Lisa O’Neill.
  • Hydration. Progressive enhancement. I do not think it means what you think it means.
  • Living Through The Future. William Gibson, Arthur C.Clarke, Daniel Dafoe, Stephen King, Emily St. John Mandel, John Wyndham, Martin Cruz-Smith, Marina Koren and H.G. Wells.
  • Principles and priorities. Using design principles to embody your priorities.
  • Hard to break. Brittleness is the opposite of resilience. But they both share something in common.
  • Intent. Black lives matter.
  • Accessibility. Making the moral argument.
  • T E N Ǝ T. A spoiler-filled look at the new Christopher Nolan film.
  • Portals and giant carousels. Trying to understand why people think they need to make single page apps.
  • Clean advertising. The greatest trick the devil ever pulled was convincing the world that behavioural advertising is more effective than contextual advertising.

I find it strangely comforting that even in a year as shitty as 2020, I can look back and see that there were some decent blog posts in there. Whatever 2021 may bring, I hope to keep writing and publishing through it all. I hope you will too.

Wednesday, December 30th, 2020

Here Lies Flash » Mike Industries

Flash, from the very beginning, was a transitional technology. It was a language that compiled into a binary executable. This made it consistent and performant, but was in conflict with how most of the web works. It was designed for a desktop world which wasn’t compatible with the emerging mobile web. Perhaps most importantly, it was developed by a single company. This allowed it to evolve more quickly for awhile, but goes against the very spirit of the entire internet. Long-term, we never want single companies — no matter who they may be — controlling the very building blocks of the web.

Monday, December 21st, 2020

Web Audio API weirdness on iOS

I told you about how I’m using the Web Audio API on The Session to generate synthesised audio of each tune setting. I also said:

Except for some weirdness on iOS that I had to fix.

Here’s that weirdness…

Let me start by saying that this isn’t anything to do with requiring a user interaction (the Web Audio API insists on some kind of user interaction to prevent developers from having auto-playing sound on websites). All of my code related to the Web Audio API is inside a click event handler. This is a different kind of weirdness.

First of all, I noticed that if you pressed play on the audio player when your iOS device is on mute, then you don’t hear any audio. Seems logical, right? Except if using the same device, still set to mute, you press play on a video or audio element, the sound plays just fine. You can confirm this by going to Huffduffer and pressing play on any of the audio elements there, even when your iOS device is set on mute.

So it seems that iOS has different criteria for the Web Audio API than it does for audio or video. Except it isn’t quite that straightforward.

On some pages of The Session, as well as the audio player for tunes (using the Web Audio API) there are also embedded YouTube videos (using the video element). Press play on the audio player; no sound. Press play on the YouTube video; you get sound. Now go back to the audio player and suddenly you do get sound!

It’s almost like playing a video or audio element “kicks” the browser into realising it should be playing the sound from the Web Audio API too.

This was happening on iOS devices set to mute, but I was also getting reports of it happening on devices with the sound on. But it’s that annoyingly intermittent kind of bug that’s really hard to reproduce consistently. Sometimes the sound doesn’t play. Sometimes it does.

Following my theory that the browser needs a “kick” to get into the right frame of mind for the Web Audio API, I resorted to a messy little hack.

In the event handler for the audio player, I generate the “kick” by playing a second of silence using the JavaScript equivalent of the audio element:

var audio = new Audio('1-second-of-silence.mp3');

I’m not proud of that. It’s so hacky that I’ve even wrapped the code in some user-agent sniffing on the server, and I never do user-agent sniffing!

Still, if you ever find yourself getting weird but inconsistent behaviour on iOS using the Web Audio API, this nasty little hack could help.

Thursday, December 17th, 2020

Simon Collison | This used to be our playground

Tending this website keeps me sane. I think of it as a digital garden, a kind of sanctuary. … And if my site is a kind of garden, then I see myself as both gardener and architect, in so much as I make plans and prepare the ground, then sow things that grow in all directions. Some things die, but others thrive, and that’s how my garden grows. And I tend it for me; visitors are a bonus.

A thoughtful and impassioned plea from Colly for more personal publishing:

I know that social media deprived the personal site of oxygen, but you are not your Twitter profile, nor are you your LinkedIn profile. You are not your Medium page. You are not your tiny presence on the company’s About page. If you are, then you look just like everyone else, and that’s not you at all. Right?

Wednesday, December 16th, 2020


I spent the last couple of weekends rolling out a new feature on The Session. It involves playing audio in a web page. No big deal these days, right? But the history involves some old file formats…

The first venerable format is ABC notation. File extension: .abc, mime type: text/vnd.abc. It’s an ingenious text format for musical notation using ASCII. The metadata of the piece of music is defined in JSON-like key/value pairs. Then the contents are encoded with letters: A, B, C, etc. Uppercase and lowercase denote different octaves. Numbers can be used for note lengths.

The format was created by Chris Walshaw in 1997 when dial-up was the norm. With ABC, people were able to swap tunes on email lists or bulletin boards without transferring weighty image or sound files. If you had ABC software on your computer, you could convert that lightweight text file into sheet music …or audio.

That brings me to the second old format: midi files. File extension: .mid, mime-type: audio/midi. Like ABC, it’s a lightweight format for encoding the instructions for music instead of the music itself.

Think of it like SVG: instead of storing the final pixels of an image, SVG stores the instructions for drawing the image instead. The instructions in a midi file are like “play this note for this long on this instrument.” Again, as with ABC, you need some software to turn the instructions into sound.

There was a time when lots of software could play midi files. Quicktime on the Mac, for example. You could even embed midi files in web pages. I mean literally embed them …with the embed element. No Geocities page was complete without an autoplaying midi file.

On The Session, people submit tunes in ABC format. Then, using the amazing ABCJS JavaScript library, the ABC is turned into SVG on the fly! For years I’ve also offered midi files, generated on the server from the ABC notation.

But times have changed. These days it’s hard to find software that plays midi files. Quicktime doesn’t do it anymore. And you’d need to go to the app store on iOS to find a midi file player. It’s time to phase out the midi files on The Session.

I still want to provide automatically-generated audio though. Fortunately ABCJS gives me a way to do this. But instead of using the old technology of midi files, it uses a more modern browser feature: the Web Audio API.

The end result sounds like a midi file, but the underlying technique is more like a synthesiser. There’s a separate mp3 file for each note. The JavaScript figures out how long each “sample” needs to be played for, strings them all together, and outputs them with Web Audio. So you’ve got cutting-edge browser technology recreating a much older file format. Paul Rosen—the creator of ABCJS—has a presentation explaining how it all works under the hood.

Not only is there a separate short mp3 file for each note in seven octaves, but if you want the sound of a different instrument, you need samples for all seven octaves in that instrument. They’re called soundfonts.

Paul provides soundfonts for ABCJS. It’s a repo that was forked from this repo from Benjamin Gleitzman. And here’s where it gets small worldy…

The reason why Benjamin has a repo of soundfonts is because he needed to create midi-like audio in the browser. He wanted to do this for a project on September 28th and 29th, 2013 …at Science Hack Day San Francisco!

I was there too—working on my own audio-related hack—and I remember the excellent (and winning) hack that Benjamin worked on. It was called Symphony of Satellites and it’s still online along with the promo video. Here’s Benjamin’s post-hackday write-up from seven years ago.

It’s rare that the worlds of the web and Irish music cross over. When I got to meet Paul—creator of ABCJS—at a web conference a couple of years ago it kind of blew my mind. Last weekend when I set out to dabble with a feature on The Session, I certainly didn’t expect to stumble on a connection to Science Hack Day! (Aside: the first Science Hack Day was ten years ago—yowzers!)

Anyway, I was able to get that audio playback working on The Session. Except for some weirdness on iOS that I had to fix. But that’s a hack for another day.

Tuesday, December 15th, 2020


I was very inspired by something Terence Eden wrote on his blog last year. A report from the AMP Advisory Committee Meeting:

I don’t like AMP. I think that Google’s Accelerated Mobile Pages are a bad idea, poorly executed, and almost-certainly anti-competitive.

So, I decided to join the AC (Advisory Committee) for AMP.

Like Terence, I’m not a fan of Google AMP—my initially positive reaction to it soured over time as it became clear that Google were blackmailing publishers by privileging AMP pages in Google Search. But all I ever did was bitch and moan about it on my website. Terence actually did something.

So this year I put myself forward as a candidate for the AMP advisory committee. I have no idea how the election process works (or who does the voting) but thanks to whoever voted for me. I’m now a member of the AMP advisory committee. If you look at that blog post announcing the election results, you’ll see the brief blurb from everyone who was voted in. Most of them are positively bullish on AMP. Mine is not:

Jeremy Keith is a writer and web developer dedicated to an open web. He is concerned that AMP is being unfairly privileged by Google’s search engine instead of competing on its own merits.

The good news is that main beef with AMP is already being dealt with. I wanted exactly what Terence said:

My recommendation is that Google stop requiring that organisations use Google’s proprietary mark-up in order to benefit from Google’s promotion.

That’s happening as of May of this year. Just as well—the AMP advisory committee have absolutely zero influence on Google search. I’m not sure how much influence we have at all really.

This is an interesting time for AMP …whatever AMP is.

See, that’s been a problem with Google AMP from the start. There are multiple defintions of what AMP is. At the outset, it seemed pretty straightforward. AMP is a format. It has a doctype and rules that you have to meet in order to be “valid” AMP. Part of that ruleset involved eschewing HTML elements like img and video in favour of web components like amp-img and amp-video.

That messaging changed over time. We were told that AMP is the collection of web components. If that’s the case, then I have no problem at all with AMP. People are free to use the components or not. And if the project produces performant accessible web components, then that’s great!

But right now it’s not at all clear which AMP people are talking about, even in the advisory committee. When we discuss improving AMP, do we mean the individual components or the set of rules that qualify an AMP page being “valid”?

The use-case for AMP-the-format (as opposed to AMP-the-library-of-components) was pretty clear. If you were a publisher and you wanted to appear in the top stories carousel in Google search, you had to publish using AMP. Just using the components wasn’t enough. Your pages had to be validated as AMP-the-format.

That’s no longer the case. From May, pages that are fast enough will qualify for the top stories carousel. What will publishers do then? Will they still maintain separate AMP-the-format pages? Time will tell.

I suspect publishers will ditch AMP-the-format, although it probably won’t happen overnight. I don’t think anyone likes being blackmailed by a search engine:

An engineer at a major news publication who asked not to be named because the publisher had not authorized an interview said Google’s size is what led publishers to use AMP.

The pre-rendering (along with the lightning bolt) that happens for AMP pages in Google search might be a reason for publishers to maintain their separate AMP-the-format pages. But I suspect publishers don’t actually think the benefits of pre-rendering outweigh the costs: pre-rendered AMP-the-format pages are served from Google’s servers with a Google URL. If anything, I think that publishers will look forward to having the best of both worlds—having their pages appear in the top stories carousel, but not having their pages hijacked by Google’s so-called-cache.

Does AMP-the-format even have a future without Google search propping it up? I hope not. I think it would make everything much clearer if AMP-the-format went away, leaving AMP-the-collection-of-components. We’d finally see these components being evaluated on their own merits—usefulness, performance, accessibility—without unfair interference.

So my role on the advisory committee so far has been to push for clarification on what we’re supposed to be advising on.

I think it’s good that I’m on the advisory committee, although I imagine my opinions could easily be be dismissed given my public record of dissent. I may well be fooling myself though, like those people who go to work at Facebook and try to justify it by saying they can accomplish more from inside than outside (or whatever else they tell themselves to sleep at night).

The topic I’ve volunteered to help with is somewhat existential in nature: what even is AMP? I’m happy to spend some time on that. I think it’ll be good for everyone to try to get that sorted, regardless about how you feel about the AMP project.

I have no intention of giving any of my unpaid labour towards the actual components themselves. I know AMP is theoretically open source now, but let’s face it, it’ll always be perceived as a Google-led project so Google can pay people to work on it.

That said, I’ve also recently joined a web components community group that Lea instigated. Remember she wrote that great blog post recently about the failed promise of web components? I’m not sure how much I can contribute to the group (maybe some meta-advice on the nature of good design principles?) but at the very least I can serve as a bridge between the community group and the AMP advisory committee.

After all, AMP is a collection of web components. Maybe.

Blob Opera — Google Arts & Culture

Ridiculously cute and fun—all in the browser.

Monday, December 14th, 2020


We often have brown bag lunchtime presentations at Clearleft. In the Before Times, this would involve a trip to Pret or Itsu to get a lunch order in, which we would then proceed to eat in front of whoever was giving the presentation. Often it’s someone from Clearleft demoing something or playing back a project, but whenever possible we’d rope in other people to swing by and share what they’re up to.

We’ve continued this tradition since making the switch to working remotely. Now the brown bag presentations happen over Zoom. This has two advantages. Firstly, if you don’t want the presenter watching you eat your lunch, you can switch your camera off. Secondly, because the presenter doesn’t have to be in Brighton, there’s no geographical limit on who could present.

Our most recent brown bag was truly excellent. I asked Léonie if she’d be up for it, and she very kindly agreed. As well as giving us a whirlwind tour of how assistive technology works on the web, she then invited us to observe her interacting with websites using a screen reader.

I’ve seen Léonie do this before and it’s always struck me as a very open and vulnerable thing to do. Think about it: the audience has more information than the presenter. We can see the website at the same time as we’re listening to Léonie and her screen reader.

We got to nominate which websites to visit. One of them—a client’s current site that we haven’t yet redesigned—was a textbook example of how important form controls are. There was a form where almost everything was hunky-dory: form fields, labels, it was all fine. But one of the inputs was a combo box. Instead of using a native select with a datalist, this was made with JavaScript. Because it was lacking the requisite ARIA additions to make it accessible, it was pretty much unusable to Léonie.

And that’s why you use the right HTML element wherever possible, kids!

The other site Léonie visited was Clearleft’s own. That was all fine. Léonie demonstrated how she’d form a mental model of a page by getting the screen reader to read out the headings. Interestingly, the nesting of headings on the Clearleft site is technically wrong—there’s a jump from an h1 to an h3—probably a result of the component-driven architecture where you don’t quite know where in the page a heading will appear. But this didn’t seem to be an issue. The fact that headings are being used at all was the more important fact. As Léonie said, there’s a lot of incorrect HTML out there so it’s no wonder that screen readers aren’t necessarily sticklers for nesting.

I’ve said it before and I’ll say it again: if you’re using headings, labelling form fields, and providing alternative text for images, you’re already doing a better job than most websites.

Headings weren’t the only way that Léonie got a feel for the page architecture. Landmark roles—like header and nav—really helped too. Inside the nav element, she also heard how many items there were. That’s because the navigation was marked up as a list: “List: six items.”

And that reminded me of the Webkit issue. On Webkit browsers like Safari, the list on the Clearleft site would not be announced as a list. That’s because the lists’s bullets have been removed using CSS.

Now this isn’t the only time that screen readers pay attention to styling. If you use display: none to hide an element from sight, it will also be unavailable to screen reader users. Makes sense. But removing the semantic meaning of lists based on CSS? That seems a bit much.

There are good reasons for it though. Here’s a thread from James Craig on where this decision came from (James, by the way, is an absolute unsung hero of accessibility). It turns out that developers went overboard with lists a while back and that’s why we can’t have nice things. In over-compensating from divitis, developers ended up creating listitis, marking up anything vaguely list-like as an unordered list with styling adjusted. That was very annoying for screen reader users trying to figure out what was actually a list.

And James also asks:

If a sighted user doesn’t need to know it’s a list, why would a screen reader user need to know or want to know? Stated another way, if the visible list markers (bullets, image markers, etc.) are deemed by the designers to be visually burdensome or redundant for sighted users, why burden screen reader users with those semantics?

That’s a fair point, but the thing is …bullets maketh not the list. There are many ways of styling something that is genuinely a list that doesn’t involve bullets or image markers. White space, borders, keylines—these can all indicate visually that something is a list of items.

If you look at, say, the tunes page on The Session, you can see that there are numerous lists—newest tunes, latest comments, etc. In this case, as a sighted visitor, you would be at an advantage over a screen reader user in that you can, at a glance, see that there’s a list of five items here, a list of ten items there.

So I’m not disagreeing with the thinking behind the Webkit decision, but I do think the heuristics probably aren’t going to be quite good enough to make the call on whether something is truly a list or not.

Still, while I used to be kind of upset about the Webkit behaviour, I’ve become more equanimous about it over time. There are two reasons for this.

Firstly, there’s something that Eric said:

We have come so far to agree that websites don’t need to look the same in every browser mostly due to bugs in their rendering engines or preferences of the user.

I think the same is true for screen readers and other assistive technology: Websites don’t need to sound the same in every screen reader.

That’s a really good point. If we agree that “pixel perfection” isn’t attainable—or desirable—in a fluid, user-centred medium like the web, why demand the aural equivalent?

The second reason why I’m not storming the barricades about this is something that James said:

Of course, heuristics are imperfect, so authors have the ability to explicitly override the heuristically determined role by adding role="list”.

That means more work for me as a developer, and that’s …absolutely fine. If I can take something that might be a problem for a user, and turn into something that’s a problem for me, I’ll choose to make it my problem every time.

I don’t have to petition Webkit to change their stance or update their heuristics. If I feel strongly that a list styled without bullets should still be announced as a list, I can specificy that in the markup.

It does feel very redundant to write ul role="list”. The whole point of having HTML elements with built-in semantics is that you don’t need to add any ARIA roles. But we did it for a while when new structural elements were introduced in HTML5—main role="main", nav role="navigation", etc. So I’m okay with a little bit of redundancy. I think the important thing is that you really stop and think about whether something should be announced as a list or not, regardless of styling. There isn’t a one-size-fits-all answer (hence why it’s nigh-on impossible to get the heuristics right). Each list needs to be marked up on a case-by-case basis.

And I wouldn’t advise spending too much time thinking about this either. There are other, more important areas to consider. Like I said, headings, forms, and images really matter. I’d prioritise those elements above thinking about lists. And it’s worth pointing out that Webkit doesn’t remove all semantic meaning from styled lists—it updates the role value from list to group. That seems sensible to me.

In the case of that page on The Session, I don’t think I’m guilty of listitis. Yes, there are seven lists on that page (two for navigation, five for content) but I’m reasonably confident that they all look like lists even without bullets or markers. So I’ve added role="list" to some ul elements.

As with so many things related to accessibility—and the web in general—this is a situation where the only answer I can confidentally come up with is …it depends.

Web Almanac 2020

I spent most of the weekend reading through this and I’ve still barely scratched the surface—a lot of work has gone to the analyses and write-ups!

The sections on accessibility and performance get grimmer each year but the raw numbers on framework adaption are refreshingly perspective-setting.

History of the Web - YouTube

I really enjoyed this trip down memory lane with Chris:

From the Web’s inception, an ancient to contemporary history of the Web.

History of the Web

Saturday, December 12th, 2020

Make it Personal | CSS-Tricks

On your personal website, you own your work. You decide what and when to publish. You decide when to delete things. You are in control. Your work, your rules, your freedom.

Thursday, December 10th, 2020

Grow the IndieWeb with Webmentions | Amber Wilson

Amber describes how she implemented webmentions on her (static) site. More important, she describes why!

Thursday, December 3rd, 2020

My website is a shifting house next to a river of knowledge. What could yours be?

My favorite aspect of websites is their duality: they’re both subject and object at once. In other words, a website creator becomes both author and architect simultaneously. There are endless possibilities as to what a website could be. What kind of room is a website? Or is a website more like a house? A boat? A cloud? A garden? A puddle? Whatever it is, there’s potential for a self-reflexive feedback loop: when you put energy into a website, in turn the website helps form your own identity.

Wednesday, December 2nd, 2020

Hyperland, Intermedia, and the Web That Never Was — Are.na

In 1990, the science fiction writer Douglas Adams produced a “fantasy documentary” for the BBC called Hyperland. It’s a magnificent paleo-futuristic artifact, rich in sideways predictions about the technologies of tomorrow.

I remember coming across a repeating loop of this documentary playing in a dusty corner of a Smithsonian museum in Washington DC. Douglas Adams wasn’t credited but I recognised his voice.

Hyperland aired on the BBC a full year before the World Wide Web. It is a prophecy waylaid in time: the technology it predicts is not the Web. It’s what William Gibson might call a “stub,” evidence of a dead node in the timeline, a three-point turn where history took a pause and backed out before heading elsewhere.

Here, Claire L. Evans uses Adams’s documentary as an opening to dive into the history of hypertext starting with Bush’s Memex, Nelson’s Xanadu and Engelbart’s oNLine System. But then she describes some lesser-known hypertext systems

In 1985, the students at Brown who encountered Intermedia had never seen anything like it before in their lives. The system laid a world of information at their fingertips, saved them hours at the library, and helped them work through tangles of thought.