Meta are launching Threads tomorrow.
If you’re wondering how this will impact the world and society’s social connections, I direct you to the predictive powers of 1984 British cinema.
Author: Dan Q
The Miracle Sudoku
This is a repost promoting content originally published elsewhere. See more things Dan's reposted.
I first saw this video when it was doing the rounds three years ago and was blown away. I was reminded of it recently when it appeared in a blog post about AI’s possible future role in research by Terence Eden.
I don’t even like sudoku. And if you’d told me in advance that I’d enjoy watching a man slowly solve a sudoku-based puzzle in real-time, I’d have called you crazy. But I watched it again today, for what must’ve been the third time, and it’s still magical. The artistry of puzzle creator Mitchell Lee is staggering.
If you somehow missed it the first time around, now’s your chance. Put this 25-minute video on in the background and prepare to have your mind blown.
Dan Q found GC3742 SP9
This checkin to GC3742 SP9 reflects a geocaching.com log entry. See more of Dan's cache logs.
Well this was a challenge! The woods threw off my GPS, but I’d brought a backup device so I averaged between them and found a likely GZ. The dog and I did an increasingly large spiral, checking all the obvious hiding spots, to no avail. Returning to our start point we began another pass, and something caught my eye! It was the cache!
A few things had made it challenging:
- I put the coordinates 13m from where the CO does. Could be the woods, but I’m not the first to say about this distance.
- This cache is by no means a “regular”. It’s not even a “small”. It would fit inside a 35mm film canister, which in my mind makes it clearly a “micro”!
- It wasn’t in the hiding place indicated by the hint! I found in on the ground, beneath leaf litter, with thanks to my energetic leaf-kicking geohound!
Signed log and returned cache to the nearest hiding spot that fits the hint, hopefully others will find it more easily than we did! TFTC from Demmy the Dog and I!
Local Expert
At school, our 9-year-old is currently studying the hsitory of human civilization from the late stone age through to the bronze age. The other week, the class was split into three groups, each of which was tasked with researching a different piece of megalithic architecture:
- One group researched Stonehenge, because it’s a pretty obvious iconic choice
- Another group researched the nearby Rollright Stones, which we’ve made a family tradition of visiting on New Year’s Day and have dragged other people along to sometimes
- The final group took the least-famous monument, our very own local village henge The Devil’s Quoits
And so it was that one of our eldest’s classmates was searching on the Web for information about The Devil’s Quoits when they found… my vlog on the subject! One of them recognised me and said, “Hey, isn’t that your Uncle Dan?”1
On the school run later in the day, the teacher grabbed me and asked if I’d be willing to join their school trip to the henge, seeing as I was a “local expert”. Naturally, I said yes, went along, and told a bunch of kids what I knew!
I was slightly intimidated because the class teacher, Miss Hutchins, is really good! Coupled with the fact that I don’t feel like a “local expert”2, this became a kick-off topic for my most-recent coaching session (I’ve mentioned how awesome my coach is before).
I eventually talked to the class mostly about the human geography aspects of the site’s story. The area around the Devil’s Quoits has changed so much over the millenia, and it’s a fascinating storied history in which it’s been:
- A prehistoric henge and a circle of 28 to 36 stones (plus at least one wooden building, at some point).
- Medieval farms, from which most of the stones were taken (or broken up) and repurposed.
- A brief (and, it turns out, incomplete) archeological survey on the remains of the henge and the handful of stones still-present.
- A second world war airfield (a history I’ve also commemorated with a geocache).
- Quarrying operations leaving a series of hollowed-out gravel pits.
- More-thorough archeological excavation, backed by an understanding of the cropmarks visible from aircraft that indicate that many prehistoric people lived around this area.
- Landfill use, filling in the former gravel pits (except for one, which is now a large lake).
- Reconstruction of the site to a henge and stone circle again.3
It turns out that to be a good enough to pass as a “local expert”, you merely have to know enough. Enough to be able to uplift and inspire others, and the humility to know when to say “I don’t know”.4
That’s a lesson I should take to heart. I (too) often step back from the opportunity to help others learn something new because I don’t feel like I’m that experienced at whatever the subject is myself. But even if you’re still learning something, you can share what you’ve learned so far and help those behind you to follow the same path. I’m forever learning new things, and I should try to be more-open to sharing “as I learn”. And to admit where I’ve still got a long way to go.
Footnotes
1 Of course, I only made the vlog because I was doing a videography course at the time and needed subject matter, and I’d recently been reading a lot about the Quoits because I was planning on “hiding” a virtual geocache at the site, and then I got carried away. Self-nerdsniped again!
2 What is a local expert? I don’t know, but what I feel like is just a guy who read a couple of books because he got distracted while hiding a geocache!
3 I’ve no idea what future archeologists will make of this place when they finda reconstructed stone circle and then, when they dig nearby, an enormous quantity of non-biodegradable waste. What was this strange stone circle for, they’ll ask themselves? Was it a shrine to their potato-based gods, to whom they left crisp packets as a sacrifice?
4 When we’re talking about people from the neolithic, saying “I don’t know” is pretty easy, because what we don’t know is quite a lot, it turns out!
Some Days the School Run is Easy
A video, in which I rant about the challenges of carrying two-childrensworth of school gear while dragging our dog, herding somebody else’s dog, and trying to stop the kids from fighting. Some mornings it’s easy. Today… it was not. Also available on YouTube.
Full transcript of the audio (except for the ocassional snorting sounds of our noisy Frenchie as she snuffles about in the background):
The morning school run is never effortless. But some days it’s easy.
Today was not one of those days.
It’s a Wednesday. So, for some strange reason, that’s the heaviest-laden day. And so, with the eldest child on her bike and the youngest on his scooter I set off, pulling the dog, and carrying a PE kit, two book bags, two water bottles, and a guitar.
I should have realised early on that today wasn’t going to be a day that the universe smiled on me when the dog immediately ran off into a ditch to take a dump and I had to clamber down into the ditch with a poop bag to fill it.
But while I’m coming out of the ditch I discover that the youngest child has zipped off up ahead in an effort to ram into his older sister and in doing so has inevitably flipped himself over the handlebars of his scooter and is now lying, crying, in the middle of the road.
So I go over to him dragging the dog and carrying a PE kit and two book bags and two water bottles and a guitar and a bag full of poop and as best I can, carrying all those things, console him and eventually, with some encouragement he’s able to get back up and carry on walking to school, but says he can no longer scoot, so I have to carry the scooter.
Now I’m dragging a dog and carrying a poop bag and a PE kit and two water bottles and two book bags and guitar… and a scooter… and that’s when the oldest child manages to throw the chain off her bike.
Now she’s had little experience, in her defence, of the chain coming off her bike. And so she does the absolute worst thing possible which is tries to pedal as hard as possible to solve the problem which makes it much worse. By the time I get there the chain is royally snarled between some of the sprockets and their housing, so I put down the guitar and the bag of poop and I hand the lead to the younger child so that I can try to unpick the older child’s chain from her bike, getting myself covered in oil.
And that’s when I notice the commotion up ahead. There are some workmen who are rebuilding the wall outside Letterbox Cottage, and – up ahead of them – barking furiously, is a small dog. This dog is Lovey, and she belongs to a friend of ours. And she’s probably the best example of whatever the opposite of nominative determinism is. Because Lovey is a truculent little bitch. Lovey is a tiny small yappy dog who will start a fight with other dogs, try to see off workmen (which is what she’s doing at the time), and she’ll bark at passing cars. And right now she’s running free, unattended, in the middle of the road. And one of the workmen says to me, “Oh, do you know who’s dog that is?” and I have to admit that yes, I do.
So, dragging our dog and carrying a PE kit and two book bags and two water bottles, a guitar, a scooter, and a bag of poop, I have to help round up this lost dog, who – if it gets too close to our dog will start a fight – and get it back to the house where it lives.
So the younger child and I manage to succeed in our mission and return this lost dog and get back on our way to school and it’s there that we finally catch up with the older child who’s gotten bored and cycled ahead. And when we catch up to the older child with me dragging the dog and carrying a PE kit and two book bags and two water bottles and a guitar and a scooter and a bag of poop… she looks up at me and says, “Ugh! You took your time!”
Suffice to say, it’s a good job I Iove those children.
Making a Home of Each Other (The Eggs)
This is a repost promoting content originally published elsewhere. See more things Dan's reposted.
I dislike recipe posts that, before you get anywhere near the list of ingredients, tell you what feels like the entire life story of the author and their family.
“Every morning my mother would warm up the stove, and this was a wood-fired stove back in the day, and make these. We lived in Minnosota…” I don’t care. I can’t begin to tell you how much I don’t care. Just tell me how to make the damn muffins ‘cos the picture’s got me drooling.
This is different. This is the latest and so-far only exception. This, I care about:
When we moved into a house of our own, I bought us a tea kettle that whistled in harmony when it boiled. Rent was cheap, and we were happy. Those were the days of sweet potato hash, wilted kale, and increasingly exotic baked goods. There was the Me-Making-You-Tea-in-the-Morning-Because-You-Hated-Mornings Phase, but also the You-Making-Me-Tea-in-the-Morning-Because-You-Went-to-Work-at-5am Phase.
…
Lucy tells a story so rich and personal about her and her wife’s experience of life, cohabitation, food, and the beauty of everyday life. I haven’t even read the recipe for The Eggs, even though it sounds pretty delicious.
…
Over the years I’ve found words for people who have done what we’re doing now, but I’ve also found a deeper truth: our queer community doesn’t demand a definition. They know that chili oil can change a life just as much as a marriage. That love is in the making and unmaking of beds. The candlelit baths. The laughter. The proffered feast that nourishes.
Queerness makes room within it for these relationships, or rather: queerness spirals outward. It blooms and embraces. That is the process by which we broaden our palates, welcoming what might seem new to us, but which is actually older than we know.
…
It’s a great reminder about focussing on what’s important. About the value of an ally whether the world’s working with you or against you. And, of course, about how every relationship, no matter what shape, size, or form, can enjoy a little more queering once in a while. Go read it.
Dan Q performed maintenance for GC9GTV3 Drive Slowly; Fox Crossing
This checkin to GC9GTV3 Drive Slowly; Fox Crossing reflects a geocaching.com log entry. See more of Dan's cache logs.
Maintenance check while walking the dog. Cleared some overgrown plants, but watch out because the nearby nettles ate still a little fierce (cache can be retrieved without a sting though!). Cache itself intact and healthy.
How cool are Silo’s credits?
I’ve long been a fan of Hugh Howey‘s Wool series of books (especially the first and third; the second’s a bit weaker); in fact I’ve been enjoying re-reading them as a bedtime story for our eldest!1
Naturally, when I heard that it would become a TV series I was really excited! I’m enjoying the series so far, especially thanks to its epic casting. It diverges a lot from the books – sometimes in ways I love, sometimes in ways that confuse me – but that’s not what I wanted to talk about. I wanted to share how cool the opening credits sequence is!
Spoiler warning: even if you’re following the TV series there are likely to be major spoilers below based on my recollection of the books!
We open on the sun shining above a thick layer of all-obscuring clouds, tinted sickly yellow like poison gas, then descend into the darkness below. This hints at the uninhabitability of the world above, foreshadows Lukas stargazing through gaps in the clouds2, and foreshadows revelations about the argon gas used to flush the airlocks. The descent feels representative of humanity’s migration from the sunlit surface to the underground silos.
Looking down, we see the silo from above in a desolate landscape, introducing the world and its setting. The area around it is shrouded and hostile, reflecting the residents’ view of the outside world as unsurvivable, but also masking our view of the other nearby silos that we might otherwise be able to see.
Descending “into” this representation of the silo, we get a view for only a split second that looks distinctly like the platter and spindle of a magnetic hard disk drive, broken-up as if to represent corruption. This reflects a number of major plot points in the first season relating to the destruction and recovery of secret information from ancient storage devices.
Truly within the silo now, we see the spokes of landings radiating out from the great stairwell. The shape is reminiscient of a cog: a motif we’ll return to later. Humanoid shapes made of light, like you get in a long exposure, move around, giving both the idea of a surveillance state, and setting us up to think of all such “glowing spots” as people (relevant later in the credits).
A representation of the stairwell itself appears, with a lit gaseous substance whipping up and down it. Given that we’ve just been shown that this kind of “light” represents people, it’s easy to see this as showing us the traffic that grinds up and down the silo, but it also feels like looking at part of a great machine, pumping gas through a condenser: notice that there’s no landings any more: this is all about the never-ending traffic.
A landing appears, and the gaseous forms are now more-clearly humanoid, almost as if they’re ghosts (perhaps pointing to the number of generations who’ve lived before, in this place, or else a reference to Juliette’s investigation into the lives of those who lived before her).
More swirling gas-people, this time below an empty balconette: perhaps a nod to the source of Juliette’s uncommon name (in the books, it’s taken from Romeo & Juliet, a possibly-illicit copy of which is retained by the silo and performed prior to Juliette’s birth and for at least a short while afterwards: she writes mechanical notes on the back of a playscript), or perhaps a reference to George’s death after “falling” from a balcony.
Seen from a different angle, the colour shifts, and the gas/ghosts become white like the argon spray of the airlock. The people are all part of a machine: a machine that sends people outside to clean and die. But more than that, the blue comes to represent a clean/perfect view of what a silo can be: a blueprint representation of the goals of its creators to shape the inhabitants into their vision of the future:
We refocus on the shape of the silo itself, but just for a split second the view looks more like an x-ray… of a human spine? As if to remind us that it’s people who upload the system of the silo, just as its concrtete uploads its physical structure. Also a reminder that the silo is treated (by those who manage it, both within and beyond it) as an organic thing that can be nurtured, grown, or if necessary killed.
This becomes the structure of the silo, but it almost looks architectural: a “clean” look, devoid of people or signs of life, like a blueprint, perhaps foreshadowing Donald’s role in designing the structures that will eventually become the silos. The “space” between the arms is emphasised, showing how the social system that this structure imposes serves to separate and segregate people: classism is a recurring theme in both the books and the TV series, and it eventually becomes apparent that the silos are specifically organised to reduce communication between interdependent groups.
Returning to the “populated” silo – swirls of gas spiralling away down (or up: it’s no longer clear!), we catch a glimpse of a nautilus shell at the centre. The nautilus is a “living fossil”, a creature from a bygone era that continues to survive in our modern world, which is an excellent metaphor for the population of the dead world who go on living beneath its surface. The nautilus shell is a recurring image within the TV series: Gloria’s visions of the world that came before see her clutching one and tracing its shape, for example.
We cut to what appears to be a seed, representing both the eventual conclusion of the story (Juliette, Charlotte and the Silo 18 survivors’ discovery of the cache of supplies that will allow them to begin rebuilding the world) and also the nature of the silo3. The seed we see initially appears to fail and degrade, becoming nothing at all, before eventually growing into the beginnings of a strong new plant. This could represent the eventual and inevitable collapse of silo 18, among others, but the eventual flourishing of those that survive, or on a broader scale the collapse of modern civilization to be replaced by the silos, or even of the silo system to be replaced with that which follows it after the conclusion of the story. Lots of options!
It’s also possibly a reflection of the harsh and opaque eugenics/population control mechanism imposed by the “lottery”, which becomes a major plot point in the TV series much earlier than in the books.
We cut to trees, thriving despite a yellow fog. The sky can’t be seen, which is a reminder that all of humanity’s resources must now be produced underground (trees are especially rare and prized, leading to a shortage of paper4. It seems to be deliberately left unclear whether the trees we see are on the surface before the fall of humanity, on the surface after the fall, or grown underground.
A fruit falls from the tree, which links back to the seed we saw geminate earlier but also seems likely to be a representation of the concept of original sin. The grand idea of the silos was to create a better world on the other side of a man-made catastrophe, but this idea is inherently flawed because the systems that are constructed by the same people who are complicit in the destruction of the world that came before. The structure that’s put in place through the Pact carries the weight of the sins of its creators: even though the inhabitants of silo 1 ultimately intend to destroy themselves, they’re unable to create a new world that is both better than the one that came before and free from their influence: it’s an impossibility.
It’s also possibly a representation of the religious beliefs of some inhabitants that the creators of the silo should be revered as gods. This was a recurring plot point in the books but has been somewhat muted in the TV series so far.
The metaphor continues when we see that this falling fruit is already beginning to rot, degrading as it tumbles towards the earth. We don’t see it strike the ground: it almost seems to hover in the air, uncertain and undecided, and reflective of the eventual end when the inhabitants of the silos break free from the shackles of the system that’s been constructed for them and can choose their own destiny. Or perhaps we don’t see the collision simply because the camera continues to fall down into the earth and below the surface again?
This time, wer’e very deep: all the way down in the depths of Mechanical, at the bottom of the silo: home to our heroine and source of many aspects of the story. In the centre, a shaft descends, connecting us back to the “spine” of the silo – the great staircase – but it’s harder to see as a wealth of machinery appears to support it, occluding our view. From down here in Mechanical it appears that the machines keep the silo running, whereas further up it looked like humans pumped through it like blood, which reflects Juliette’s disagreements with many of those up-top about their priorities during her time as Sheriff and, later, as Mayor.
We see a cloud of steam, like that used to drive the generator that brings life to the silo, and for a moment it’s impossible to differentiate it from the cloud of people we saw earlier, rushing up and down the stairs. Look closely at the steam, though, and you’ll see that it too contains the ghosts of people.
Deeper still, the cog motif returns and we’re buried in an impossible number of interconnected gears. The machine that they support is impossible to comprehend from within: How big is it? What is it for? Who made it and why?
The final cog mutates into the staircase again, winding away from us and hammering the point home.
The staircase changes again, first becoming an outline of itself (a callback to the “blueprint” design we saw earlier, reminding us that this thing was designed to be like this)…
…but this becomes a double-helix, representing the chaos of life. Again, the metaphor is of a perfect idea constructed to achieve a goal, but the unpredictability of humans leads to a different outcome.
Seen from above, the staircase now looks like an enormous clock, a machine of cogs each turning slower than the one beneath, counting down until the end of the silo experiment in accordance with the whim of its creators. Except, of course, if something were to break this machine.
Seen from the side, the silo is a hive of activity, but the shape the levels form in this depiction are exactly like the rotors of a steam turbine, and this is reflected by an image of steam, almost in the shape of a growing tree – passing behind it in the background. The generator and its rotor blades is a significant early plot point in both the books and the TV series, and the books in particular use engine metaphors to explain Juliette’s interpretation of different situations she finds herself in, even those which are distinctly interpersonal rather than mechanical.
Looking back up the silo, towards the light, we can now see its shape and structure for what it is: just another cog – a part of an even bigger machine that is the whole Operation Fifty silo network. The people are the lifeblood of this machine, but they’re as replaceable and interchangable as any other part.
Finally, we crossfade to the title, looking like a stencil. Each letter is more-degraded than the one before it, representing the impossibility of building a perfect system.
The credits sequence is less than 90 seconds long, but so much is packed into it. It’s just great.
Footnotes
1 We’re into the final act of Dust now and it’s been amazing to experience the characters – loveable and hateable – of the series.
2 Curiously, in the TV series Lukas is only ever seen stargazing on clear nights, which is one of those confusing choices I mentioned. I suspect it’s for aesthetic reasons and to help add some romance to Juliette and Lukas’s courtship.
3 A silo is, of course, a place to store something valuable through the hard times. This is exactly what the silos in this story are for.
4 The shortage of paper shows up many times in the books but is somewhat glossed-over in the TV series. I’m not sure how they’ll reconcile that with the impact of the discovery of the Legacy, later.
Note #21487
I have minus 26 new articles in my RSS reader! Either I’m a time traveller, or there’s a wraparound bug when you neglect your unreads for long enough.
Both seem equally likely, if I’m honest.
WCEU23 – Day 2
My second day of the main conference part of WordCamp Europe 2023 was hampered slightly by a late start on my part.
Still, I managed to get to all the things I’d earmarked for my attention, including:
Gutenberg collaborative editing experience
I’m sure I can’t be the only person who’s been asked “why can’t the (or ‘shouldn’t the’) WordPress post editor let multiple people edit post at the same time”. Often, people will compare it to e.g. Google Docs.
Dawid summarised the challenging issues in any effort to implement this much-desired feature. Some of them are examples of those unsolved problems that keep rearing their heads in computer science, like the two generals’ problem, but even the solvable problems are difficult: How does one handle asynchronous (non-idempotent) commutative operations? How is the order of disparate actions determined? Which node is the source of truth? If a server is used, where is that server (with a nod to quite how awful the experience of implementing a Websockets server in PHP can be…)? And so on…
I really appreciated Dawid’s reference to the various bits of academic literature that’s appeared over the last four decades (!) about how these problems might be solved. It’s a strong reminder that these things we take for granted in live-updating multi-user web applications are not trivial and every question you can answer raises more questions.
There’s some great early proof-of-concepts, so we’re “getting there”, and it’s an exciting time. Personally, I love the idea of the benefits this could provide for offline editing (perhaps just because I’m still a huge fan of a well-made PWA!).
The future of work is open
James Giroux’s goal: that we all become more curious about and more invested in our team’s experiences, from a humanistic standpoint. His experience of companies with organic growth of software companies is very, very familiar: you make a thing and give it away, then you need more people, then you’ve somehow got a company and it’s all because you just had an idea once. Sounds like Three Rings!
James was particularly keen to share with us the results of his Team Experience Index research, and I agree that some of the result are especially exciting, in particularly the willingness of underrepresented groups, especially women, to enagage with the survey: this provides hugely valuable data about the health of teams working in the WordPress space.
“We have this project that we work with and contribute to, that we love,” says James, in an attempt to explain the highly-positive feedback that his survey respondents gave when asked questions about the authenticity of their purpose and satisfaction in their role.
So, what do we do with these findings? How do WordPress-ey companies improve? James recommends that we:
- Get better are showing what recognition, celebration, and career growth looks like,
- Improve support and training for team leaders to provide them with the tools to succeed and inspire, and
- Bridge the gap between leadership and team members with transparent, open dialogue.
Good tips, there.
The Big Photo
A WordCamp tradition is to try to squeeze every willing participant into a photo. Clearly with the size that these events are, nowadays, this requires some wrangling (and, in this case, the photographers standing atop the roof of a nearby building to get everybody into frame).
I’ll have to keep an eye out for the final picture and see if I can find myself in it.
What is new in CSS?
I always find that learning about bleeding edge CSS techniques makes me feel excited and optimistic, perhaps because CSS lends itself so well towards a progressive enhancement approach to development: often, you can start using a new technique today and it’ll only benefit, say, people using a beta version of a particular browser (and perhaps only if they opt-in to the applicable feature flag). But if you’ve designed your site right then the lack of this feature won’t impact anybody else, and eventually the feature will (hopefully) trickle-down into almost everybody’s Web experience.
Anyway, that’s what Fellyph Cintra says too, but he adds that possibly we’ve still not grown out of thinking that browsers take a long time between versions. 5 years passed between the release of Internet Explorer 6 and Internet Explorer 7, for example! But nowadays most browsers are evergreen with releases each month! (Assuming we quietly ignore that Apple don’t sent new versions of Safari to old verisons of MacOS, continuing to exacerbate a problem that we used to see with Internet Explorer on Windows, ahem.)
<dialog> to his team and they responded with skepticism that they’d be able to use it within the next 5 years. But in fact
it’s already stable in every major browser.
An important new development may come from Baseline, a project to establish a metric of what you can reliably use on the Web today. So a bit like Can I Use, I guess, but taken from the opposite direction: starting from the browsers and listing the features, rather than the other way around.
Anyway, Fellyph went on to share some exciting new ideas that we should be using, like:
-
object-fitandobject-position, which can make the contents of any container “act like” a background -
aspect-ratio, which I’m already using and I love, but I enjoyed how Fellyph suggested combining the two to crop images to a fluid container on the client side -
scroll-behavior: smooth, which I’ve used before; it’s pretty good -
clamp, which I use… but I’m still not sure I fully grok it: I always have to load some documentation with examples when I use it -
@containerqueries, which can apply e.g.(max-width: ...)rules to things other than the viewport, which I’ve not found a need for yet but I can see the value of it -
@layers, which grant an additional level of importance in the cascade: for example, you might load a framework into a layer (with@import url(...) layer(framework)) which is defined as a lower-priority than your override layer, meaning you won’t have to start slapping!importantall over the shop -
@media (400px <= width <= 600px)-style media queries, which are much easier to understand thanmin-width:if you’re used to thinking in a more-procedural programming language (I assume they work in container queries too!)
It’s also worth remembering:
-
@supports, which is badass and I love and use it already (it was especially useful asdisplay: gridbegan to roll out and I wanted to start using it but needed to use a fallback method for browsers that didn’t support it yet -
:has(), which I’ve long thought is game-changing: styling something based on what it contains is magical; not really suitable for mainstream use yet without Firefox support, though (it’s still behind a feature flag)! Fellyph sold me on the benefit of:not(:has(...)), though! - Nesting, which again doesn’t have Firefox support yet but provides SCSS-like nesting in CSS, which is awesome
- Scroll-driven animations, which can e.g. do parallax effects without JavaScript (right now it’s Canary only, mind…), using e.g.
animation-timeline:andanimation-range:to specify that it’s the scroll position within the document that provides the timeline for the animation
And keeping an eye on upcoming things like text-balanced (which I’m already excited by), popover, selectmenu, view transitions (which I’ve been
experimenting with because they’re cool), and scoped style.
Fellyph was at least as inspiring as I’d hoped.
Stop blocking my thread
For my second workshop, I joined Google’s Adam Silverstein to watch him dissect a few participants’ websites performance using Core Web Vitals as a metric. I think I already know the basics of Core Web Vitals, but when it comes to improving my score (especially on work-related sites with unpleasant reliance on heavyweight frameworks like React, in my experience).
We talked a lot about render blocking (thanks to JS and CSS in the
<head>), thread blocking (by scripts, especially those reacting to user input), TTFB (relating to actual network
and server performance, or at least server-side processing), TBT (the time between FCP and TTI), and the upcoming change to measure INP rather than FID. That’s a lot of acronyms.
The short of it is that there are three pillars to Core Web Vitals: loading (how long until the page renders), interactivity (how long until the page responds to user interaction), and stability (how long it takes for the page to cease layout shifts as a result of post-load scripts and stylesheets). I was pleased that Adam acknowledged the major limitation of lab testing resulting from developers often using superior hardware and Internet connections to typical users, and how if you’re serious about performance metrics you’ll want to collect RUM data.
I came away with a few personalised tips, but they’re not much use for your site: I paid attention to the things that’ll be helpful for the sites I look after. But I’ll be taking note of his test pages so I can play with some of the tools he demonstrated later on.
Variations on a theme: 20 years of WordPress
I couldn’t liveblog this because I spent too much of the session applauding. A few highlights from memory:
- Phase 2 (of 4) of Gutenberg is basically complete, which is cool. Some back-and-forth about the importance of phase 4 (bringing better multilingual support to WordPress) and how it feels like it’s a long way away.
- Lots of plugging for Five for the Future, which I can get behind.
- In the same vein as his 2016 statement that WordPress developers should “learn JavaScript deeply”, Matt leant somewhat into the idea that from today they should “watch AI carefully”; I’m not 100% convinced, but it’s not been stopping me from getting involved with a diversity of AI experiments (including some WordPress-related ones) anyway.
- Musings about our community being a major part of why WordPress succeeded (and continues to thrive) unlike some other open source projects of its era. I agree that’s a factor, but I suspect that being in the right place at the right time was also important. Perhaps more on that another time.
- Announcement of the next WordCamp Europe location.
Here’s looking forward to WordCamp Europe 2024 in Turin!
Dan Q found GC5KBK3 ISAP: Omonia
This checkin to GC5KBK3 ISAP: Omonia reflects a geocaching.com log entry. See more of Dan's cache logs.
Found! Took a bit of a search, because I had looked at the hint image which shows several trees at the GZ that are no longer there, so I was left thinking I must be in the wrong place for a while! TFTC, and greetings from Oxfordshire, UK!
WCEU23 – Day 1
The first “full” day of WordCamp Europe 2023 (which kicked-off at Contributor Day) was busy and intense, but I loved it.
This post is basically a live-blog of everything I got up to, and it’s mostly for my own benefit/notetaking. If you don’t read it, nobody will blame you.
Here’s what I got up to:
10 things that all WordPress plugin developers should avoid
David Artiss took the courageous step of installing 36 popular plugins onto a fresh WordPress site and was, unsurprisingly, immediately bombarded by a billion banners on his dashboard. Some were merely unhelpful (“don’t forget to add your API key”), others were annoying (“thanks for installing our plugin”), and plenty more were commercial advertisements (“get the premium version”) despite the fact that WordPress.org guidelines recommend against this. It’s no surprise that this kind of “aggressive promotion” is the single biggest annoyance that people reported when David asked around on social media.
Similarly, plugins which attempt to break the standard WordPress look-and-feel by e.g. hoisting themselves to the top of the menu, showing admin popovers, putting settings sections in places other than the settings submenu, and so on are a huge annoyance to everybody. I get sufficiently frustrated by these common antifeatures of plugins I use that I actually maintain a plugin for my own use that “fixes” the ones that aggrivate me the most!
David’s promised to put his slides online, plus to write articles about everything that came up in his Q&A.
I’m unconvinced that we can rely on plugin developers to independently fix the kinds of problems that come high on David’s list. I wonder if there’s mileage in WordPress Core reimplementing the way that the main navigation menu works such that all items in it can be (easily) re-arranged by users to their own preference? This would undermine the perceived value to plugin developers of “hoisting” their own to the top by allowing users to counteract it, and would provide a valuable feature to allow site admins to streamline their workflow: use WooCommerce but only in a way that’s secondary to your blog? Move “Products” below “Posts”! Etc.
Where did we come from?
Aaron Reimann from ClockworkWP gave us a tour of how WordPress has changed over the course of its 20-year history, starting even slightly before I started using WordPress; my blog (previously powered by some hacky PHP, previouslier powered by some hackier Perl, previousliest written in static HTML) switched to WordPress in 2004, when it hit version 1.2, so it was fun to get the opportunity to see some even older versions illustrated.
It was great to be reminded how far the Core code has come over that time. Early versions of WordPress – as was common among PHP applications at the time! – had very few files and each could reliably be expected to be a stack of SQL, wrapped in a stack of code, wrapped in what’s otherwise a HTML file: no modularity!
There were very few surprises for me in this talk, as you might expect for such an “old hand”, but I really enjoyed the nostalgia of exploring WordPress history through his eyes.
I enjoyed putting him on the spot with a “spicy” question at the end of his talk, by asking him if, alongside everything we’ve gained over the years, whether there’s anything we lost along the way. He answered well, pointing out that the somewhat bloated stack of plugins that are commonplace on big sites nowadays and the ease with which admins can just “click and install” more of them. I agree with him, although personally I miss built-in XFN support…
Networking And All That
There’s a lot of exhibitors with stands, but I tried to do a circuit or so and pay attention at least to those whose owners I’ve come into contact with in a professional capacity. Many developers who make extensions for WooCommerce, of course, sell those extensions through WooCommerce.com, which means they come into routine direct contact with my code (and it can mean that when their extension’s been initially rejected by our security scanners or linters, it’s me their developers first want to curse!).
It’s been great to connect with people using WordPress to power the Web in a whole variety of different contexts, but it somehow still feels strange to me that WordPress has such a commercial following! Even speaking as somebody who’s made their living at least partially out of WordPress for the last decade plus, it still feels to me like its greatest value comes from its use for personal publishing.
The feel of a WordCamp with its big shiny sponsors is enormously different from, say, the intimacy and individuality of a Homebrew Website Club meeting, and I think that’s something I still need to come to terms with. WordPress’s success story comes from many different causes, but perhaps chief among them is the fact that it’s versatile enough to power the website of a government, multinational, or household-name brand… but also to run the smallest personal indie blog. I struggle to comprehend that, even with my background.
(Side note, Sophie Koonin says that building a personal website is a radical act in 2023, and I absolutely agree.)
I was proud of my colleagues for the “gimmick” they were using to attract people to the Woo stand: you could pick up a “credit card” and use it to make a purchase (of Greek olive oil) using a website, see your order appear on the app at the backend in real-time, and then receive your purchase as a giveaway. The “credit card” doubles as a business card from the stand, the olive oil is a real product from a real, local producer (who really uses WooCommerce to sell online!), and when you provide an email address at the checkout you can opt-in to being contacted by the team afterwards. That’s some good joined-up thinking by my buddies in marketing!
WordPress extended: build unique websites on top of WP
Petya Petkova observed that it’s commonplace to take the easy approach and make a website look like… well, every other website. “Web deja-vu” is a real thing, and it’s fed not only by the ebbs and flows of trends in web design but by the proliferation of indistinct themes that people just install-and-use.
Choice of colours and typography can be used to tell a story, to instil a feeling, to encourage engagement. Scrolling can be used as a metaphor for storytelling (“scrolly-telling”, Petya calls it). Animation flow can be used to direct a user’s attention and drive focus and encourage interaction.
A lot of the technical concepts she demonstrated – parts of a page that scroll at different speeds, typography that shifts or changes, videos used in a subtle way to accentuate other content, etc. – can be implemented in the frontend with WebGL, Three.js and the like. Petya observes that moving this kind of content interactivity into the frontend can produce an illusion of a performance improvement, which is an argument I’ve heard before, but personally I think it’s only valuable if it’s built as a progressive enhancement: otherwise, you’re always at risk that your site won’t look like you’d hope.
I note, for example, that Petya’s agency’s site shows only an “endless spinner” when viewed in my browser (which blocks the code.jQuery CDN by default, unless allowlisted for specific sites). All of the content is there, on the page, if you View Source, but it’s completely invisible if an external JavaScript fails to load. That doesn’t just happen when weirdos like me disable JavaScript in their browsers: it can happen if the browser interacts badly with the script, or if the user’s Internet connection is ropey, or a malware scanner misfires, or if government censorship blocks the CDN, or in any number of other conditions.
So yeah: uniqueness and creativity are great, and I like what she’s proposing, but not the way she goes about it. The first person to ask a question wisely brought up accessibility, and
Petya answered well that accessibility technologies can bridge the gap, but I’d counter that it’s preferable to build accessible in the first instance: if you have to
use an aria- attribute it’s a good sign that you probably already did something wrong (not always, but it’s certainly a pointer that you ought to take a step back
and check!).
Several other good questions and great answers followed: about how to showcase a preliminary design when they design is dependent upon animation and interactivity (which I’ve witnessed before!), on the value of server-side rendering of components, and about how to optimise for smaller screens. Petya clearly knows her stuff in all of these areas and had confident responses.
State of WordPress security – insights from 2022
Oliver Sild is the kind of self-taught hacker, security nerd, and community builder that I love, so I wasn’t going to miss his talk.
It’s good news in general in WordPress Security-land… but CSRF is on the up-and-up (overtaking XSS) in the plugin space. That, and all the broken access control we see in the admin area, are things I’ll be keeping in mind next time I’m arguing with a vendor about the importance of using nonces and security checks in their extension (I have this battle from time to time!).
But an interesting development is the growth of the supply chains in the WordPress plugin ecosystem. Nowadays a plugin might depend upon another plugin which might depend upon a library… and a patch applied to the latter of those might take time to be propagated through the chain, providing attackers with a growing window of opportunity.
A worrying thought is that while plugin directory administrators will pull and remove plugins that have longstanding unactioned security issues. But that doesn’t help the sites that already have that plugin installed and are still using it! There’s a proposal to allow WordPress to notify admins if a plugin used on a site has been dropped for security reasons, but it was opened 9 years ago and hasn’t seen any real movement, soo…
I like that Oliver plugged for security researchers being acknowledged as equal contributors to developers on your software. But then, I would say that, as somebody who breaks into things once in a while and then tells the affected parties how to fix the problem that allowed me to do so! He also provided a whole wealth of tips for site owners and agencies to try to keep their sites safe, but little that I wasn’t aware of already.
It was about this point in the day, glancing at my schedule and realising that at any given time there were up to four other sessions running simultaneously, that I really got
a feel for the scale of this conference. Awesome. Meanwhile, Oliver was fielding the question that I’m sure everybody was thinking: with Gutenberg blocks powered by JavaScript that are
often backed by a supply-chain of the usual billion-or-so files you find in your .node_modules directory, isn’t the risk of supply chain attacks increasing?
Spoiler: yes. Did you notice earlier in this post I mentioned that I don’t use Gutenberg on this site yet?
Typographic readability in theme design & development
My first “workshop” was run by Giulia Laco, on the topic of readable content and design.
Giulia began by reminding us how short the attention span of Web readers is, and how important the right typographic choices are in ensuring that people actually read your content. I fully get this – I think that very few people will have the attention span to read this part of this very blog post, for example! – but I loved that she hammered the point home by presenting every slide of her presentation twice (or more), “improving” the typographic choices as she went along: an excellent and memorable quirk.
Our capacity to read and comprehend a text is affected by a combination of common (distance, lighting, environment, concentration, mood, etc.), personal (age, proficiency, motiviation,
accessibility requirements, etc.), and typographic (face, style, size, line length and spacing, contrast, width, rhythm etc.) factors. To explore the impact of the typographic factors,
the group dived into a pre-prepared Codepen and a shared Figma diagram. (I immediately had a TIL moment over the font-synthesis: CSS property!)
Things get interesting at the intersection of readability and accessibility. For example, WCAG accessibility requirements demand that you don’t use images of text (we used to do this a lot back before we could reliably use fonts on the web, and before we could easily have background images on e.g. buttons for navigation). But this accessibility requirement also aids screen readability when accounting for e.g. “retina” screens with virtual pixel ratios.
Giulia provided a great explanation of why we may well think in pixels (as developers or digital designers) but we’re unlikely to use them everywhere: I’d internalised this lesson long ago but I appreciated a well-explained justification. The short of it is: screen zoom (that fancy zoom feature you use in your browser all the time, especially on mobile) and text zoom (the one you probably don’t use, or don’t use so much) are different things, and setting a pixel-based font size in the root node wrecks the latter, forcing some people with accessibility needs to use the former, which is likely to result in vertical scrolling. Boo!
I also enjoyed seeing this demo of how the different hyphenation-points in different languages (because of syllable stress) can impact on your wrapping points/line lengths when content is translated. This can affect any website, of course, because any website can be the target of automatic translation.
Plus, Giulia’s thoughts on the value of serifed fonts (even on digital displays) for improving typographic readability of the letters d, b, p and q which are often mirror- or rotationally-symmetric to one another in sans-serif fonts. It’s amazing to have something – in this case, a psychological letter transposition – pointed out that I’ve experienced but never pinned down the reason for, before. Neat!
It was a shame that this workshop took place late in the day, because many of the participants (including me) seemed to have flagging energy levels!
Altogether a great (but intense) day. Boggles my mind that there’s another one like it tomorrow.
WCEU23 – Contributor Day
Among the many perks of working for a company with a history so tightly-intertwined with that of the open-source WordPress project is that license to attend WordCamps – the biggest WordPress conferences – is basically a given.
It’s frankly a wonder that this is, somehow, my first WordCamp. As well as using it1 and developing atop it2, of course, I’ve been contributing to WordPress since 2004 (albeit only in a tiny way, and not at all for most of the last decade!).
Today is Contributor Day, a pre-conference day in which folks new and old get together in person to hack on WordPress and WordPress-adjacent projects. So I met up with Cem, my Level 4 Dragonslayer friend, and we took an ultra-brief induction into WP-CLI3 before diving in to try to help write some code.
So today, as well as meeting some awesome folks, I got to write an overly-verbose justification for a bug report being invalid and implement my first PR for WP-CLI: a bugfix for a strange quirk in output formatting.
--no-color.
I hope to be able to continue contributing to WP-CLI. I learned a lot about it today, and while I don’t use it as much as I used to in my multisite-management days, I still really respect its power as a tool.
Footnotes
1 Even with the monumental stack of custom code woven into DanQ.me, a keen eye will probably spot that it’s WordPress-powered.
2 Perhaps my proudest “built on WordPress” moment was my original implementation of OpenID for WordPress, back in 2005, which is completely obsolete now. But I’ve done plenty of other things, both useful (like the multisite installation used by the University of Oxford) and pointless (like making WordPress a CMS for Gemini, Gopher, and Finger) too over the last 20 years.
3 WP-CLI is… it’s like Drush but for WordPress, if that makes sense to you? If not: it’s a multifaceted command-line tool for installing, configuring, maintaining, and managing WordPress installations, and I’ve been in love with it for years.
Dan Q found GC1B0P5 The Runner
This checkin to GC1B0P5 The Runner reflects a geocaching.com log entry. See more of Dan's cache logs.
What a great statue! Cache was very easy to find; despite its camo it was very visible as I walked along the adjacent path. Thanks for bringing me out of my way on my walk from my hotel to the conference I’m attending, and TFTC. Greetings from Oxfordshire, UK!
Dan Q found GC2K167 Petraki Monastery – NIMTS
This checkin to GC2K167 Petraki Monastery - NIMTS reflects a geocaching.com log entry. See more of Dan's cache logs.
QEF once I found the right hiding place! TFTC, and for the excuse to divert my morning walk this way. Greetings from Oxfordshire, UK!