blogging
Design Links & Learning
A Blog by Nick TrombleyCollections of articles, links, and other material from around the web, relevant to software design and engineering.
On online collaboration and our obligations as makers of software
An Essay by Baldur BjarnasonIs it the notetaking system that’s helping you think more clearly? Or is it the act of writing that forces you to clarify your thoughts?
Is it the complex interlinked web of notes that helps you get new ideas? Or is it all the reading you’re doing to fill that notetaking app bucket?
Is all of this notetaking work making you smarter? Or is it just indirectly forcing you into deliberate, goalless practice?
missing concepts in link culture?
The idea of “evergreen” content naturally contrasts with its opposite. I am going to call that non-evergreen content “deciduous” because I wasn’t bullied enough as a child.
revisiting architectural blogging
An Article by Alan JacobsI have appropriated from Brian Eno and others the distinction between architecture and gardening, and have described my blog as a kind of garden. But lately I’ve been revisiting the architecture/gardening distinction and I have come to think that there is something architectural about writing a blog, or can be – but not in the sense of a typical architectural project, which is designed in advanced and built to specifications. Rather, writing a blog over a period of years is something like building the Watts Towers.
Simon Rodi didn’t have a plan, didn’t even have a purpose: he just started building. His work was sustained and extended by bricolage, the acquisition and deployment of found objects – and not just any objects, but objects that the world had discarded as useless, as filth. You put something in here, then something else, you discover, fits there … over time you get something big and with a discernible shape. Not the regular shape envisioned in architectural drawings, but nevertheless something that can be pleasing or at least interesting to look at – an organic and irregular shape. A geometry of irregular forms.
Stream on
An Article by Simon CollisonA primary motivation for creating my Stream was the paralysing sense that a blog post needed appropriate length and weight. Since switching to Kirby, there’s relatively little friction to posting, but there’s definite friction in evaluating a post’s worth to the reader. I’d think to myself, “I’d like to write something about that, but I’ll have to come up with all sorts of extra stuff and dressing, and it’ll take all afternoon.”
And so, I was increasingly aware that I was letting many interesting or essential thoughts go undocumented, allowing them to drift from memory, or exist only on social media, likely to one day evaporate. I’ve become more and more interested in the human desire to document, and it’s something I’ve always valued, so I needed to find a solution that I could entirely control and own. That solution was my Stream.
scribe.rip
An ApplicationI hadn't realized that Medium had made JavaScript a requirement to be able to read any Medium post - I'd had JS disabled for ages on Medium just because of all the extra cruft they added.
But now, without JS, you only get the first few lines of content, and the rest is loaded entirely with JS - which is...stupid.
Scribe fixes all that and focuses entirely on the author's content.
Why Would I Want to Use This?
- You believe in an open web
- You believe more in the author than the platform
- You don't like the reading experience that Medium provides
- You object to Medium's extortionist business tactics
- You're concerned about how Medium uses your data
- Other reasons
What do I need to read to be great at CSS?
An Article by Baldur BjarnasonA rule of thumb is that the importance of a blog in your feed reader is inversely proportional to their posting cadence. Prioritise the blogs that post only once a month or every couple of weeks over those that post every day or multiple times a day...Building up a large library of sporadically updated blogs is much more useful and much easier to keep up with than trying to keep up with a handful of aggregation sites every day.
Things Learned Blogging
An Article by Jim NielsenEschew anything beyond writing the content of a post. No art direction. No social media imagery. No comments. No webmentions. No analytics...Imagine stripping away everything in the way of writing until the only thing staring you back in the face is a blinking cursor and an empty text file. That’ll force you to think about writing.
...[And] write for you, not for others. And if you can’t think of what to “write”, document something for yourself and call it writing.
If there’s one thing I’ve learned about the mystery of blogging, it’s that the stuff you think nobody will read ends up with way more reach than anything you write thinking it will be popular.
So write about what you want, not what you think others want, and the words will spill out.
How to blog
An Article by Tom MacWright- Own your domain and use simple technology
- Never change the technology
- Write something on a schedule
Whomst styles?
An Article by Robin SloanThis is a “whostyle”: an attempt to carry the ~timbre~ of an author’s voice, in the form of their design sensibility, through into a quotation. It’s the author who defines their whostyle; the quoting site just honors it, a frame around their words.
I think the whostyle makes a few arguments. Among them:
- Text is more than a string of character codes. Its design matters, typography and layout alike; these things support (or subvert!) its affect, argument, and more.
- The web should be more colorful and chaotic, along nearly every dimension. The past five years have brought a flood of new capabilities, hugely expressive — let’s use them!
- Quoting is touchy, and anything you can do to cushion it with respect and hospitality is a plus.
multiverse.plus
A Website by Kicks Condor & Weiwei HsuAn audacious attempt to reshape blogging, to see where it can go next!
Podcasts and video have really taken over - to the extent that it feels like reading may be falling behind. Can we enhance text and imagery on the Web? Try to give blogging new life?
A Brief History of the Digital Garden
An Article by Maggie AppletonDigital gardening is the Domestic Cozy version of the personal blog. It's less performative than a blog, but more intentional and thoughtful than our Twitter feed. It wants to build personal knowledge over time, rather than engage in banter and quippy conversations.
Blogging with Version Control
An Article by Will DarwinI’ve been musing for a while now on the way blog posts are typically presented—in reverse chronological order. This format has never truly made sense and does not reflect the way good writing and thinking happens.
...The main issue with the ‘pile’ system is that this post is eventually buried beneath more recent pieces of writing; there is no incentive for revisiting or updating the work. Even worse, if an author does decide to unearth the piece and make some major changes, those who read the original piece are not made aware of these alterations. The sorting order is static.
The Value of a Personal Site
An ArticleA personal site offers a dedicated place to experiment across the entire tech-stack; not a deliverable for a client that is handed over and then never touched by me again. A personal site is a place to try out that new API, see what can be done with CSS, truly discover what the Web can be.
This used to be our playground
An Essay by Simon CollisonThere was a time when owning digital space seemed thrilling, and our personal sites motivated us to express ourselves. There are signs of a resurgence, but too few wish to make their digital house a home.
aboutfeeds.com
A Website by Matt WebbUse feeds to subscribe to websites and get the latest content in one place.
Feeds put you in control. It’s like subscribing to a podcast, or following a company on Facebook. You don’t need to pay or hand over your email address. And you get the latest content without having to visit lots of sites, and without cluttering up your inbox. Had enough? Unsubscribe from the feed.
You just need a special app called a newsreader.
This site explains how to get started.
XXIIVV Webring
A WebsiteThis webring is an attempt to inspire artists & developers to build their own website and share traffic among each other.
Navigation by shibboleth
An Article by Dorian TaylorThe inverse-chronological colly on the front page is exactly what I didn’t want to end up with. I have tried my damnedest to keep everything on this site as temporally neutral as I can make it. I even intentionally leave the dates off the documents. Temporality only matters if you’ve already read everything and you want to see what’s new or changed, like if you’ve subscribed to a feed. Which is exactly what that is on the front page.
How the Blog Broke the Web
An Article by Amy HoyHow would I improve RSS?
An Article by Matt WebbMy sense is that RSS is having a mini resurgence. People are getting wary of the social media platforms and their rapacious appetite for data. We’re getting fatigued from notifications; our inboxes are overflowing. And people are saying that maybe, just maybe, RSS can help.
Quotebacks
A Tool by Tom Critchlow & Toby ShorinQuotebacks brings structured discourse to blogs and personal websites.
Quotebacks makes it easy to reference content and create dialogue with other sites by turning snippets of text into elegant, self-contained blockquote components.
Re: How would I improve RSS?
An Article by Robin RendleI still believe in a Kindle/Analogue-esque device that, within it, contains an operating system that is half Patreon, half Substack, half Instapaper.
I think of this as the Republic of Newsletters writ large—The OmniBlog—where writers can publish their work and folks can subscribe via RSS but with a Coil-esque payment system built in and preloaded onto a physical e-reader. Writers could blog away, connected to eachother, whilst readers could subscribe to their work and perhaps even fund larger pieces of writing...
Shit, I just described Medium huh.
The Nature and Aesthetics of Design
Any imaginable shape
The thing which sharply distinguishes useful design from such arts as painting and sculpture is that the practitioner of design has limits set upon his freedom of choice. A painter can choose any imaginable shape. A designer cannot.
Useless work on useful things
Anyone can verify by simple observation two important facts.
The first is, that whenever humans design and make a useful thing they invariably expend a good deal of unnecessary and easily avoidable work on it which contributes nothing to its usefulness.
The second fact is that all useful devices have got to do useless things which no one wants them to do. Who wants car to get hot? Or to wear out its tires? Or to make a noise and a smell?
Presentable
I have sometimes wondered whether our unconscious motive for doing so much useless work is to show that if we cannot make things work properly we can at least make them presentable.
The principle of arrangement
It is really rather remarkable that, while anyone can tell whether a thing is a pocket-knife because, presumably, anyone can recognize the principle of arrangement which constitutes the similarity between all pocket knives, no one can visually abstract that arrangement. We recognize it when we 'see' it embodies, we can describe it disembodies, but we cannot visualize it disembodied.
The minimum condition
When a device is so designed that its component parts are only just strong enough to get the intended result without danger of failure, we may say it is in its minimum condition.
I suspect that the functionalists sometimes meant by functional design simply design aimed at the minimum condition for a device. In that case 'form should follow function' would mean that every system should be in its minimum condition, thus having certain limitations imposed on its form.
The requirements of economy
Economy is the mother of most inventions, not necessity, unless in the sense of poverty and hardship. A requirement for convenience is simply a diluted requirement for ease and economy.
It seems to be invariably true that those characteristics which lead people to call a design functional are derived from the requirements of economy and not of use.
When design gets too easy
Design has invariably exhibited styles because some clear limitations on freedom of choice are psychologically necessary to nearly all designers. When design gets too easy it becomes difficult.
The one best way
It is a most diverting spectacle to see the experts in work study exercising their considerably ingenuity to find the one cheapest way of doing operations which could perfectly well be dispensed with; for example, getting shiny surfaces on furniture. The 'one best way' of doing things like that is not to do them.
The versatility of flat surfaces
The versatility of flat surfaces is not commonly seen in nature.
The works of God
Via reddit
Thus the first and most important stratagem adopted to cheapen construction was the squaring and turning of components in order to eliminate offering up and individual fitting. The flatness, straightness, and squareness which more than any other characteristic distinguish man's construction from the works of God, derive from economy. We see the mark of economy in every building of squared masonry however magnificent it may be. Only the few remnants of ancient polygonal masonry remind us that the pattern of stone work where each stone is individually fitted can be very different from the cheap squared pattern to which we are accustomed."
Skill vs. knowledge
We should say that anybody has skill enough to build a good dry-stone wall but that few know how to design one, for the placing of the stones is a matter of knowledge and judgment, not of dexterity.
6 methods for economical design
- Use readily available materials.
- Use easily worked ('wasted') materials.
- Avoid dexterous labor.
- Use standardized materials or components.
- Avoid intermediate states (get straight to the final product).
- Use standardized language and geometry. Design only what can be easily communicated.
Old solutions
Where the problem is old, the old solutions will nearly always be best.
The bloodless ghosts of memory
The bloodless ghosts of memory.
A strangely negative character
Utility has a strangely negative character. We speak of the secret of happiness, for its causes are elusive; but there is no secret about the causes of unhappiness: thirst, hunger, want of sleep, exhaustion, pain, constraint of movement and too great heat and cold, are evils which can effectively prevent happiness. Utility has a negative character, because useful devices are adopted in the main for the sake ultimately of avoiding such evils.
From the fact that deadly injury, pain, and exhaustion prevent the fulfillment of the universal wish for happiness, we have always tended to infer that if only life were safe, comfortable, and effortless, we would be happy. It does not follow.
Sine qua non
What we see of a device is rarely the essential part, the sine qua non, but nearly always the superstructure which economy has imposed on it.
It seems that the work we call purely utilitarian is not more useful than its more ornamental counterpart. It is merely more economical.
The contribution that something in them yet compelled them to make
Makers and designers must gradually have come inwardly to believe that half their work had been mere frivolity because it had been avoidable, and because some of it had contributed nothing to the satisfaction of people's material wants. This must have affected them like a conviction of original sin.
The idea that utility was the purpose of work overpowered them and seemed unanswerable. From that time on perhaps the artist and workman have been weakened by an inward suspicion that they are supporting a lost cause. They have perhaps half-believed that the world could get on very well without the contribution that something in them yet compelled them to make.
No more than a sketch
The quality of a musical performance depends on the performers as much as on the score. The performers are said to be interpreting the score, but in fact they are adding intention of their own to those of the composer, recognizing that no score can in practice ever fully express the intentions of a composer, that it can never be more than an indication, a sketch; and no designer can in practice ever produce more than a sketch.
Purpureus
Our way of talking about surface quality as 'texture' is rather like the ancient Roman way of calling anything bright colored 'purpureus' on the principle perhaps that any bright color was much the same as any other.
The weather in the space
The architect's special preoccupation is first to decide what kinds of spaces shall be enclosed.
All manner of different considerations will influence an architect's decisions about the shape of the spaces they are to enclose, but the chief of them will always be the probable activities of the people who will enjoy the weather in the space.
Holding together a civilization
It is only in the present age that it has been asserted that 'architecture is not an art' or 'should not be an art': and that strenuous efforts are made to made a distinction between design and art. And nowadays we build cities of such a quality that no one likes living in them, everyone who can do so gets a motor car to escape from them. Because of the multitude of motor cars, escape is now denied us, the country is destroyed, and the cities become still less tolerable to live in.
All that is the consequence of contempt for art. Art is not a matter of giving people a little pleasure in their time off. It is in the long run a matter of holding together a civilization.
A cumulative effect
It is a cumulative effect, this character. It results from the combined impact of the design of a great many separate things, none of which is so very atrocious but too many of which are flatly negative, wanting. The design of each single thing in the environment, however small it may be, is really important.
Scenery
What is designed and made outlasts the people for whose profit and for whose use it was made.
We may think we are designing furniture of motor cars, but we are not. If we are designing a motor car for one man, we are designing scenery for fifty thousand others.
Something more is required
Efficiency, the capability of performing effectively, never made anything beautiful yet and it justifies no design in itself. To say of a design 'it works, it does its job', or 'it gets the intended result' no more commends or excuses it than to say of a man 'he has never actually defrauded anybody'. That is not what virtue means! Something more is required.
Beauty is like a joke
If some story makes you laugh aloud, then something in it causes the experience which issues in laughter. But can you describe that something to a person who does not think it funny in such a way as to make him see the joke and experience just what you have experienced?
A being-without
Not having a toothache is no goal for a lifetime. Happiness, however one defined it, is not something negative, a being-without.
Some emptiness in us
Whenever we encounter beauty we become aware, each time with a sense of shock and pleasure, faint though it may be, that some emptiness in us, not consciously felt but continually present, has been assuaged and fulfilled. We have a sudden high sense of completeness and harmony.
The matrix of all we know
Man's species has existed for an immensely longer period, unimaginably longer, in an unmodified natural environment. That unmodified environment was the matrix of all man knows of beauty. All the means of his experience of beauty evolved in it. Now, in the artificial environment, art creates an equivalent for that beauty, for it is a need of man's spirit.
The evolution of devices
All the first antecedents of man's devices were given him by Nature. Every one of his devices is traceable back to something in nature which suggested the first remote and primitive beginnings of its evolution. And every feature in art that man's mind conceived is conceived by a mind that has evolved as a part of nature: that grew out of nature.
The evolution of devices is as much a natural process as the evolution of organisms.
Deliberate acts
I do not know what one should call the landscape of a long cultivated countryside, or the enchanting pattern of lights which shows at night time in a modern city seen from overhead. Are these not works of art? It is scarcely justifiable to say that these things have taken shape by chance. Each part of them has been made as it is by what seemed a deliberate act, and it need not necessarily be assumed to be a matter of chance that the results of many acts of many men over a considerably period of time should harmonize together aesthetically.
The skill of perception
The newborn baby and the [blind man suddenly gifted with sight] do not have to learn to see. Sight is given to them. But they do have to learn to perceive. Perception is learnt and learnt slowly. Skill is required for perception as for speech. We are largely unaware of the skill we exercise. None of the things we have to learn to perceive are self-evident, or, apparently, instinctively evident. No doubt, however, we have an instinctive aptitude for this learning, and once we have learnt we cannot easily see as though we had not.
As Ruskin says, one has to strive, if one is to see with the 'Innocent Eye'.
Who did the teaching, then?
It has been contended sometimes that our response to works of art is entirely learnt and in no way innate; but the questions 'Who did the teaching, then? and how?' have not, I fancy, been much investigated. This contention is very true of our responses to styles and fashions, but it is not true of our response to beauty.
No kind
No kind of shape, no kind of design or kind of picture or other work of art can be beautiful. No kind of color is beautiful. Beauty comes always from the singularity of things. Two things which happen to be closely similar in size, color, insurance value, smell, weight, or shape, may both seem equally beautiful. It is not therefore to be deduced that, say, a smell of turpentine is a necessary prerequisite of beauty; and nor is the fact that the two things' shapes are measurably within a millimeter of each other. They might still be as different as chalk and cheese: they might differ hugely in surface quality so that one lived and the other was dead. One judges a man by what he is, by his individuality, his idiosyncrasy; not by his measurable properties or measurable behavior or by the shape of his nose or the description in his passport. So with a work of art.
Tradition
Change is of the essence of tradition. Our declining civilization has largely lost the conception of tradition as continuous change by small variations – as evolution, in other words – and can produce only fashions which, one after another, appear, live for a little while, and die without issue.
What a greenhouse was for
The new-found ability to make a wall all of glass had advantages, undoubtedly, in certain particular cases, but not in nearly so many as the Bauhaus stylists pretended. It is not forgotten by those who have to work in buildings with these glass walls that their propagators must have known quite well what a greenhouse was for and what it did. That knowledge counted for nothing beside the imperative necessity of showing how new the 'new architecture' was, by doing something obvious different from the fenestrated walls of the styles which had preceded it.
The act of creation
What I suggest has usually happened [during the act of creation] is this: the artist has glimpsed something: he has seen, perhaps fleetingly and indistinctly, some particular relation or quality of visible features which had previously been disregarded, and which impressed itself on him by its beauty. By means of making a work of art he then seeks as it were to fix isolate and concentrate what he has seen.
No one has ever succeeded in demonstrating in principle how this is done, but done it is; and when we see it done we find it hard to understand why it should have been so intensely difficult to do.
The imprint of a man
Art is the imprint of a man: a creature whose nature is idiosyncrasy sparring with conformity.
Déjà vu
The artists expression may make us aware for the first time of something we had too little regarded or had not been fully conscious of, presenting us with something which is quite new to us and yet at the same time disturbingly familiar – déjà vu.
The signature
It has long been understood that striving for originality as an end in itself is the mark of an inferior artist. The personal style of a good artist is never something that has been deliberately cultivated and forced but something that has appeared unsought as inevitably as the personal style of a man's handwriting.
But since artists of note are seen to have a distinct personal style, no artist can hope to make a reputation in a competitive society unless he too can show a distinctive style which easily differentiates his work from that of other artists and draws attention to it. Therefore artists of little capability or uncertain vocation will take great care to make their work look 'different', whereas those with any certainty in them will know that their work cannot help but look different from that of other people any more than signatures can.
It is worth reflecting that the fact of the unmistakable individuality of each man's signature is one foundation of modern commerce everywhere. To establish the individuality of it one need not write it vertically up the page in letters two inches high. And yet there are only twenty six letters, and everyone else uses them too.
It will not stand still to be pointed at
The cause of the experience of beauty is a series of events, not a state of affairs existing continuously. That perhaps is why the cause of the experience is something we find impossible to point out. It will not stand still to be pointed at. We can point out only what we perceive. We can never point out or describe what we see.