A 2016 version of the 1914 Isochronic London/World travel times map
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Year: 2018
Forza Horizon 4 is really very British
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There is a phenomenon of culture that I’m not convinced has a name. Living in the UK, the vast, vast majority of the media I consume is from the US. And nearly always has been. While television was more localised, all my life the films and games (and indeed an awful lot of the TV) I’ve watched and played has not only come from America, but been set there, or created by people whose perception of life is based there. And, while we may share a decent proportion of a common language, we really are very different countries and indeed continents. The result of this being, the media I watch that comes from the US is in many senses alien, to the point where a film set in an American high school might as well be set on a spaceship for all the familiarity it will have to my own lived experiences.
Which makes playing Forza Horizon 4 a really bloody weird thing. It’s… it’s British. Which is causing my double-takes to do double-takes.
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I’m not usually a fan of driving games, but this review of Forza Horizon 4 on Rock Paper Shotgun makes me want to give it a try. It sounds like the designers have worked incredibly hard to make the game feel genuinely-British without falling back on tired old tropes.
It’s time to winterize your vagina
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Breakout your plug-in vibrator and don’t forget the snow stud sheath. No battery-powered device can plow through vaginal snow pack. You need alternating current to warm that shit up after a long day of sitting naked outside filling your vagina with snow and ice. Don’t get clitoral anti freeze though, that crap stings like a motherfucker.
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I don’t know whether I should describe this as being hilarious despite not having a vagina, or because of not having a vagina, but honestly it was side-splitting however you look at it. Gynaecologist/author/blogger/educator/blogger Dr. Jen Gunter points and laughs at a Daily Mirror tweet discussing “winter vagina”, and provides her own tips for dealing with the phenomenon. Warm up the mulled wine, ladies!
Escape from Spiderhead
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“Drip on?” Abnesti said over the P.A.
“What’s in it?” I said.
“Hilarious,” he said.
“Acknowledge,” I said.
Abnesti used his remote. My MobiPak™ whirred. Soon the Interior Garden looked really nice. Everything seemed super-clear.
I said out loud, as I was supposed to, what I was feeling.
“Garden looks nice,” I said. “Super-clear.”
Abnesti said, “Jeff, how about we pep up those language centers?”
“Sure,” I said.
“Drip on?” he said.
“Acknowledge,” I said.
He added some Verbaluce™ to the drip, and soon I was feeling the same things but saying them better. The garden still looked nice. It was like the bushes were so tight-seeming and the sun made everything stand out? It was like any moment you expected some Victorians to wander in with their cups of tea. It was as if the garden had become a sort of embodiment of the domestic dreams forever intrinsic to human consciousness. It was as if I could suddenly discern, in this contemporary vignette, the ancient corollary through which Plato and some of his contemporaries might have strolled; to wit, I was sensing the eternal in the ephemeral.
I sat, pleasantly engaged in these thoughts, until the Verbaluce™ began to wane. At which point the garden just looked nice again. It was something about the bushes and whatnot? It made you just want to lay out there and catch rays and think your happy thoughts. If you get what I mean.
Then whatever else was in the drip wore off, and I didn’t feel much about the garden one way or the other. My mouth was dry, though, and my gut had that post-Verbaluce™ feel to it.
“What’s going to be cool about that one?” Abnesti said. “Is, say a guy has to stay up late guarding a perimeter. Or is at school waiting for his kid and gets bored. But there’s some nature nearby? Or say a park ranger has to work a double shift?”
“That will be cool,” I said.
“That’s ED763,” he said. “We’re thinking of calling it NatuGlide. Or maybe ErthAdmire.”
“Those are both good,” I said.
“Thanks for your help, Jeff,” he said.
Which was what he always said.
“Only a million years to go,” I said.
Which was what I always said.
Then he said, “Exit the Interior Garden now, Jeff, head over to Small Workroom 2.”
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This reads like what would have happened if Harlan Ellison had lived long enough to be asked to guest-write for the next season of Black Mirror. Go read the entire beautiful, creepy, thing.
SQLite Code Of Ethics (formerly Code of Conduct)
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- Attribute to God, and not to self, whatever good you see in yourself.
- Recognize always that evil is your own doing, and to impute it to yourself.
- Fear the Day of Judgment.
- Be in dread of hell.
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In an age when more and more open-source projects are adopting codes of conduct that reflect the values of a tolerant, modern, liberal society, SQLite – probably the most widely-used database system in the world, appearing in everything from web browsers to games consoles – went… in a different direction. Interesting to see that, briefly, you could be in violation of their code of conduct by failing to love everything else in the world less than you love Jesus. (!)
After the Internet collectively went “WTF?”, they’ve changed their tune and said that this guidance, which is based upon the Rule of St. Benedict, is now their Code of Ethics, and their Code of Conduct is a little more… conventional.
Rehabilitating Google AMP: My failed attempt
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This article is a follow-up to my article “Why Google AMP is a threat to the Open Web”. In the comments of that article I promised I’d soon provide a follow-up, and for reasons I’ll get into, that has not been possible until now – but now I’m finally providing it.
Back in February I wrote an article saying how I believed Google AMP has been imposed on the web by Google as a ‘standard’ for developing fast webpages, and my dismay about that. Google apparently developed this as an internal project without any open collaboration, and avoiding the W3C standardization processes. Google made implementation of Google AMP a requirement to show at the top of the search results for common news searches.
To many of us open web folk, Google’s AMP violated the widely held principle of search engines not putting bias into search results, and/or the principle of web standards (take your pick – it would not be bias if it was a standardized approach that the wider web community had agreed upon).
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You know how I feel about AMP. I’m not alone, and others are doing a pretty good job of talking to Google about our concerns. Unfortunately, Google aren’t listening.
#youbroketheinternet So We Got Tracked Anyway
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Did you install EFF’s brilliant Privacy Badger or any other smart HTTP Cookie management tool? Or did you simply pick the privacy preference in your browser that ignores all third-party cookies? Did many websites you visit annoy you with permission-to-use-cookies pop-ups because of European legislation?
Guess what, it’s all been useless.
Hamburg university researchers have examined closely how web browsers implement so-called TLS session resumption and how the top million popular websites make use of that feature. They found that 80% of websites make a correct use, unsuitable for tracking repeat visitors — just resuming an existing session within the last ten minutes.
Unfortunately though, Google is present on 80% of these websites in form of Analytics, Fonts or other third-party inclusions. And among 10% of sites that do not respect reasonable resumption times, Google sticks out as one of the most greedy ones — it allows for a web browser to stay offline for over a day, and still be recognized as the same web browser the next day. Considering that it is nearly impossible to surf the web without accessing some Google content, this means that Google can track all your surfing habits without any need for HTTP Cookies!
As Facebook isn’t as pervasively present in all of the web, it went even further. It is enough for you to visit any website bearing a Like button every second day to allow Facebook to profile you, even if you never dreamt of logging into that service. Could it be our researchers just caught these companies with their hands deep in the cookie jar (pun intended)? For how long have they been collecting user data this way?
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Somewhat conspiracy-theory-like take on an actual, real privacy issue: the fact that TLS makes tracking pretty easy even without cookies. If you thought my 301-based cookieless tracking was clever, this is cleverer. And harder to detect, to boot.
SHE BON : Sensing the Sensual
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I don’t know if this is genius or insanity, but either way it’s pretty remarkable. Lost my shit at “pop girl”. Lost it again at “I can poke the nipple”.
It takes a true engineer to think to themselves, “Hey, I wonder if I could use technology to tell me when I’m feeling aroused? That sounds like a useful project.” I love it.
CSS Border-Radius Can Do That? | IO 9elements
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TL/DR: When you use eight values specifying border-radius in CSS, you can create organic looking shapes. WOW. No time to read it all ?— we made a visual tool for you. Find it here.
Introduction
During this year’s Frontend Conference Zurich Rachel Andrew talked about Unlocking the Power of CSS Grid Layout. At the end of her talk, she mentioned something about an old CSS property that got stuck in my head:
“The Image is set round just by using the well-supported border-radius. Don’t forget that old CSS still exists and is useful. You don’t need to use something fancy for every effect.” — Rachel Andrew
Shortly after I heard this talk, I thought that you certainly could create more than just circles and started to dig deeper into what can be done using border-radius.
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That’s really cool. I had a quick play and made this gold ‘shield’ award:
You Win A Prize!
How Few Votes Can Win a UK General Election?
Here’s a thought: what’s the minimum number of votes your party would need to attract in order to be able to secure a majority of seats in the House of Commons and form a government? Let’s try to work it out.
The 2017 general election reportedly enjoyed a 68.8% turnout. If we assume for simplicity’s sake that each constituency had the same turnout and that votes for candidates other than yours are equally-divided amongst your opposition, that means that the number of votes you need to attract in a given constituency is:
68.8% × the size of its electorate ÷ the number of candidates (rounded up)
For example, if there was a constituency of 1,000 people, 688 (68.8%) would have voted. If there were 3 candidates in that constituency you’d need 688 ÷ 3 = 229⅓, which rounds up to 230 (because you need the plurality of the ballots) to vote for your candidate in order to secure the seat. If there are only 2, you need 345 of them.
The minimum number of votes you’d need would therefore be this number for each of the smallest 326 constituencies (326 is the fewest number of seats you can hold in the 650-seat House of Commons and guarantee a strict majority; in reality, a minority government can sometimes form a government but let’s not get into that right now). Constituencies vary significantly in size, from only 21,769 registered voters in Na h-Eileanan an Iar (the Western Isles of Scotland, an SNP/Labour marginal) to 110,697 in the Isle of Wight (which flip-flops between the Conservatives and the Liberals), but each is awarded exactly one seat, so if we’re talking about the minimum number of votes you need we can take the smallest 326.
By my calculation, with a voter turnout of 68.8% and assuming two parties field candidates, one can win a general election with only 7,375,016 votes; that’s 15.76% of the electorate (or 11.23% of the total population). That’s right: you could win a general election with the support of a little over 1 in 10 of the population, so long as it’s the right 1 in 10.
I’ll leave you to decide how you feel about that. In the meantime, here’s my working (and you can tweak the turnout and number-of-parties fields to see how that affects things). My data comes from the following Wikipedia/Wikidata sources: [1], [2], [3], [4], [5] mostly because the Office of National Statistics’ search engine is terrible.
JACOB PRETENDS TO BE STRAIGHT… | The Trueman Show! Ep 13
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The Fratocrats at their funniest.
Letter of Recommendation: Escape Rooms
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Think of all the ways you already insert pleasurable, circumscribed bursts of risk into your life. Maybe you watch horror movies, consume hot sauce, jaywalk. Maybe you pursue casual sex or steal Splenda packets from Starbucks or treat the speed limit as a cute suggestion. An escape game is like stacking these things atop one another and rounding out the itinerary with a medium-scary roller coaster. The panic is real even if the pressure is an illusion. You won’t die or get stuck in the 1980s if you fail to escape; an employee will simply unlatch the door and let you out with a “Better luck next time.”
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As a big fan of escape rooms and the gaming experience they represent, I really enjoyed this NYT piece.
Dan Q performed maintenance for GC7R0HB The Fairy Elevator
This checkin to GC7R0HB The Fairy Elevator reflects a geocaching.com log entry. See more of Dan's cache logs.
Sorry it took me so long to get out here to check up on this cache; geocaching.com started disbelieving that my email address was valid and stopped sending me watchlist notifications for a while! Looks like the lid had become detached at some point (that can happen with this kind of container) but a subsequent cacher more-familiar with this kind of container reassembled it. Dried out the container a little, but the most-fragile contents were already safely ziplocked and silica-gelled and were all in serviceable condition already.
The fairies are all busy weatherproofing their homes for the winter, so I gave them a little help too.
Note #11210
Notes from #musetech18 presentations (with a strong “collaboration” theme). Note that these are “live notes” first-and-foremost for my own use and so are probably full of typos. Sorry.
Matt Locke (StoryThings, @matlocke):
- Over the last 100 years, proportional total advertising revenue has been stolen from newspapers by radio, then television: scheduled media that is experienced simultaneously. But we see a recent drift in “patterns of attention” towards the Internet. (Schedulers, not producers, hold the power in radio/television.)
- The new attention “spectrum” includes things that aren’t “20-60 minutes” (which has historically been dominated by TV) nor “1-3 hours” (which has been film), but now there are shorter and longer forms of popular medium, from tweets and blog posts (very short) to livestreams and binging (very long). To gather the full spectrum of attention, we need to span these spectra.
- Rhythm is the traditions and patterns of how work is done in your industry, sector, platforms and supply chains. You need to understand this to be most-effective (but this is hard to see from the inside: newcomers are helpful). In broadcast television as a medium, the schedules dictate the rhythms… in traditional print publishing, the major book festivals and “blockbuster release” cycles dominate the rhythm.
- Then how do we collaborate with organisations not in our sector (i.e. with different rhythms)? There are several approaches, but think about the rhythmic impact.
Lizzy Bullock (English Heritage, @lizzybethness):
- g.co/englishheritage
- Partnered with Google Arts & Heritage; Google’s first single-partner project and also their first project with a multi-site organisation.
- This kind of tech can be used to increase access (e.g. street view of closed sites) and also support curatorial/research aims (e.g. ultra-high-resolution photography).
- Aside from the tech access, working with a big company like Google provides basically “free” PR. In combination, these benefits boost reach.
- Learnings: prepare to work hard and fast, multi-site projects are a logistical nightmare, you will need help, stay organised and get recordkeeping/planning in place early, be aware that there’ll be things you can’t control (e.g. off-brand PR produced by the partner), don’t be afraid to stand your ground where you know your content better.
- Decide what successw looks like at the outset and with all relevant stakeholders involved, so that you can stay on course. Make sure the project is integrated into contributors’ work streams.
Daria Cybulska (Wikimedia UK, @DCybulska):
- Collaborative work via Wikimedians-in-residence not only provides a boost to open content but involves engagement with staff and opens further partnership opportunities.
- Your audience is already using Wikipedia: reaching out via Wikipedia provides new ways to engage with them – see it as a medium as well as a platform.
- Wikimedians-in-residence, being “external”, are great motivators to agitate processes and promote healthy change in your organisation.
Creative Collaborations ([1] Kate Noble @kateinoble, Ina Pruegel @3today, [2] Joanna Salter, [3] Michal Cudrnak, Johnathan Prior):
- Digital making (learning about technology through making with it) can link museums with “maker culture”. Cambridge museums (Zoology, Fitzwilliam) used a “Maker in Residence” programme and promoted “family workshops” and worked with primary schools. Staff learned-as-they-went and delivered training that they’d just done themselves (which fits maker culture thinking). Unexpected outcomes included interest from staff and discovery of “hidden” resources around the museums, and the provision of valuable role models to participants. Tips: find allies, be ambitious and playful, and take risks.
- National Maritime Museum Greenwich/National Maritime Museum – “re.think” aimed to engage public with emotive topics and physically-interactive exhibits. Digital wing allowed leaving of connections/memories, voting on hot issues, etc. This leads to a model in which visitors are actively engaged in shaping the future display (and interpretation) of exhibitions. Stefanie Posavec appointed as a data artist in residence.
- SoundWalk Strazky at Slovak National Gallery: audio-geography soundwalks as an immersive experiential exhibition; can be done relatively cheaply, at the basic end. Telling fictional stories (based on reality) can help engage visitors with content (in this case, recreating scenes from artists’ lives). Interlingual challenges. Delivery via Phonegap app which provides map and audio at “spots”; with a simple design that discourages staring-at-the-screen (only use digital to improve access to content!).
Lightning talks:
- Maritime Museum Greenwich: wanted to find out how people engage with objects – we added both a museum interpretation and a community message to each object. Highly-observational testing helped see how hundreds of people engage with content. Lesson: curators are not good judges of how their stuff will be received; audience ownership is amazing. Be reactive. Visitors don’t mind being testers of super-rough paper-based designs.
- Nordic Museum / Swedish National Heritage Board explored Generous Interfaces: show first, don’t ask, rich overviews, interobject relationships, encourage exploration etc. (Whitelaw, 2012). Open data + open source + design sprints (with coding in between) + lots of testing = a collaborative process. Use testing to decide between sorting OR filtering; not both! As a bonus, generous interfaces encourage finding of data errors. bit.ly/2CNsNna
- IWM on the centenary of WWI: thinking about continuing the crowdsourcing begun by the IWM’s original mission. Millions of assets have been created by users. Highly-collaborative mechanism to explore, contribute to, and share a data space.
- Lauren Bassam (@lswbassam) on LGBT History and co-opting of Instagram as an archival space: Instagram is an unconventional archival source, but provides a few benefits in collaboration and engagement management, and serves as a viable platform for stories that are hard to tell using the collections in conventional archives. A suitably-engaged community can take pride in their accuracy and their research cred, whether or not you strictly approve of their use of the term “archivist”. With closed stacks, we sometimes forget how important engagement, touch, exploration and play can be.
- Owen Gower (@owentg) from Dr. Jenner’s House Museum and Garden: they received EU REVEAL funding to look at VR as an engagement tool. Their game is for PSVR and has a commercial release. The objects that interested the game designers the most weren’t necessarily those which the curators might have chosen. Don’t let your designers get carried away and fill the game with e.g. zombies. But work with them, and your designers can help you find not only new ways to tell stories, but new stories you didn’t know you could tell. Don’t be afraid to use cheap/student developers!
- Rebecca Kahm @rebamex from Pelagios Commons (@Pelagiosproject): the problem with linked data is that it’s hard to show its value to end users (or even show museums “what you can do” with it). Coins have great linked data, in collections. Peripleo was used to implement a sort-of “reverse Indiana Jones”: players try to recover information to find where an artefact belongs.
- Jon Pratty: There are lots of useful services (Flickr, Storify etc.) and many are free (which is great)… but this produces problems for us in terms of the long-term life of our online content, not to mention the ethical issues with using services whose business model is built on trading personal data of our users. [Editor’s note: everything being talked about here is the stuff that the Indieweb movement have been working on for some time!] We need to de-siloise and de-centralise our content and services. redecentralize.org? responsibledata.io?
In-House Collaboration and the State of the Sector:
- Rosie Cardiff @RosieCardiff, Serpentine Galleries on Mobile Tours. Delivered as web application via captive WiFi hotspot. Technical challenges were significant for a relatively small digital team, and there was some apprehension among frontline staff. As a result of these and other problems, the mobile tours were underused. Ideas to overcome barriers: report successes and feedback, reuse content cross-channel, fix bugs ASAP, invite dialogue. Interesting that they’ve gained a print guides off the back of the the digital. Learn lessons and relaunch.
- Sarah Younaf @sarahyounas, Tyne & Wear Museums. Digital’s job is to ask the questions the museum wouldn’t normally ask, i.e. experimentation (with a human-centric bias). Digital is quietly, by its nature, “given permission” to take risks. Consider establishing relationships with (and inviting-in) people who will/want to do “mashups” or find alternative uses for your content; get those conversations going about collections access. Experimental Try-New-Things afternoons had value but this didn’t directly translate into ideas-from-the-bottom, perhaps as a result of a lack of confidence, a requirement for fully-formed ideas, or a heavy form in the application process for investment in new initiatives. Remember you can’t change everyone, but find champions and encourage participation!
- Kati Price @katiprice on Structuring for Digital Success in GLAM. Study showed that technical leadership and digital management/analysis is rated as vital, yet they’re also underrepresented. Ambitions routinely outstrip budgets. Assumptions about what digital teams “look” like from an org-chart perspective don’t cover the full diversity: digital teams look very different from one another! Forrester Research model of Digital Maturity seems to be the closest measure of digital maturity in GLAM institutions, but has flaws (mostly relating to its focus in the commercial sector): what’s interesting is that digital maturity seems to correlate to structure – decentralised less mature than centralised less mature than hub-and-spoke less mature than holistic.
- Jennifer Wexler, Daniel Pett, Chiara Bonacchi on Diversifying Museum Audiences through Participation and stuff. Crowdsourcing boring data entry tasks is sometimes easier than asking staff to do it, amazingly. For success, make sure you get institutional buy-in and get press on board. Also: make sure that the resulting data is open so everybody can explore it. Crowdsourcing is not implicitly democratisating, but it leads to the production of data that can be. 3D prints (made from 3D cutouts generated by crowdsourcing) are a useful accessibility feature for bringing a collection to blind or partially-sighted visitors, for example. Think about your audiences: kids might love your hip VR, but if their parents hate it then you still need a way to engage with them!
Dan Q found GC34XPT Northumberland Avenue
This checkin to GC34XPT Northumberland Avenue reflects a geocaching.com log entry. See more of Dan's cache logs.
Quick find with a coworker on a lunch break from an event at the National Gallery. TFTC!