Journal tags: tv

In two of my recent talks—In And Out Of Style and Design Principles For The Web—I finish by looking at three different components:

1. a button,
2. a dropdown, and
3. a datepicker.

In each case you could use native HTML elements:

1. button,
2. select, and
3. input type="date".

Or you could use divs with a whole bunch of JavaScript and ARIA.

In the case of a datepicker, I totally understand why you’d go for writing your own JavaScript and ARIA. The native HTML element is quite restricted, especially when it comes to styling.

In the case of a dropdown, it’s less clear-cut. Personally, I’d use a select element. While it’s currently impossible to style the open state of a select element, you can style the closed state with relative ease. That’s good enough for me.

Still, I can understand why that wouldn’t be good enough for some cases. If pixel-perfect consistency across platforms is a priority, then you’re going to have to break out the JavaScript and ARIA.

Personally, I think chasing pixel-perfect consistency across platforms isn’t even desirable, but I get it. I too would like to have more control over styling select elements. That’s one of the reasons why the work being done by the Open UI group is so important.

But there’s one more component: a button.

Again, you could use the native button element, or you could use a div or a span and add your own JavaScript and ARIA.

Now, in this case, I must admit that I just don’t get it. Why wouldn’t you just use the native button element? It has no styling issues and the browser gives you all the interactivity and accessibility out of the box.

I’ve been trying to understand the mindset of a developer who wouldn’t use a native button element. The easy answer would be that they’re just bad people, and dismiss them. But that would probably be lazy and inaccurate. Nobody sets out to make a website with poor performance or poor accessibility. And yet, by choosing not to use the native HTML element, that’s what’s likely to happen.

I think I might have finally figured out what might be going on in the mind of such a developer. I think the issue is one of control.

When I hear that there’s a native HTML element—like button or select—that comes with built-in behaviours around interaction and accessibility, I think “Great! That’s less work for me. I can just let the browser deal with it.” In other words, I relinquish control to the browser (though not entirely—I still want the styling to be under my control as much as possible).

But I now understand that someone else might hear that there’s a native HTML element—like button or select—that comes with built-in behaviours around interaction and accessibility, and think “Uh-oh! What if there unexpected side-effects of these built-in behaviours that might bite me on the ass?” In other words, they don’t trust the browsers enough to relinquish control.

I get it. I don’t agree. But I get it.

If your background is in computer science, then the ability to precisely predict how a programme will behave is a virtue. Any potential side-effects that aren’t within your control are undesirable. The only way to ensure that an interface will behave exactly as you want is to write it entirely from scratch, even if that means using more JavaScript and ARIA than is necessary.

But I don’t think it’s a great mindset for the web. The web is filled with uncertainties—browsers, devices, networks. You can’t possibly account for all of the possible variations. On the web, you have to relinquish some control.

Still, I’m glad that I now have a bit more insight into why someone would choose to attempt to retain control by using div, JavaScript and ARIA. It’s not what I would do, but I think I understand the motivation a bit better now.

What a time, as they say, to be alive. The Situation is awful in so many ways, and yet…

In this crisis, there is also opportunity—the opportunity to sit on the sofa, binge-watch television and feel good about it! I mean just think about it: when in the history of our culture has there been a time when the choice between running a marathon or going to the gym or staying at home watching TV can be resolved with such certitude? Stay at home and watch TV, of course! It’s the only morally correct choice. Protect the NHS! Save lives! Gorge on box sets!

What you end up watching doesn’t really matter. If you want to binge on Love Island or Tiger King, go for it. At this moment in time, it’s all good.

I had an ancient Apple TV device that served me well for years. At the beginning of The Situation, I decided to finally upgrade to a more modern model so I could get to more streaming services. Once I figured out how to turn off the unbelievably annoying sounds and animations, I got it set up with some subscription services. Should it be of any interest, here’s what I’ve been watching in order to save lives and protect the NHS…

Watchmen, Now TV

Superb! I suspect you’ll want to have read Alan Moore’s classic book to fully enjoy this series set in the parallel present extrapolated from that book’s ‘80s setting. Like that book, what appears to be a story about masked vigilantes is packing much, much deeper themes. I have a hunch that if Moore himself were forced to watch it, he might even offer some grudging approval.

Devs, BBC iPlayer

Ex Machina meets The Social Network in Alex Garland’s first TV show. I was reading David Deutsch while I was watching this, which felt like getting an extra bit of world-building. I think this might have worked better in the snappier context of a film, but it makes for an enjoyable saunter as a series. Style outweighs substance, but the style is strong enough to carry it.

Breeders, Now TV

Genuinely hilarious. Watch the first episode and see how many times you laugh guiltily. It gets a bit more sentimental later on, but there’s a wonderfully mean streak throughout that keeps the laughter flowing. If you are a parent of small children though, this may feel like being in a rock band watching Spinal Tap—all too real.

The Mandalorian, Disney Plus

I cannot objectively evaluate this. I absolutely love it, but that’s no surprise. It’s like it was made for me. The execution of each episode is, in my biased opinion, terrific. Read what Nat wrote about it. I agree with everything they said.

Westworld, Now TV

The third series is wrapping up soon. I’m enjoying this series immensely. It’s got a real cyberpunk sensibility; not in a stupid Altered Carbon kind of way, but in a real Gibsonian bit of noirish fun. Like Devs, it’s not as clever as it thinks it is, but it’s throroughly entertaining all the same.

Tales From The Loop, Amazon Prime

The languid pacing means this isn’t exactly a series of cliffhangers, but it will reward you for staying with it. It avoids the negativity of Black Mirror and instead maintains a more neutral viewpoint on the unexpected effects of technology. At its best, it feels like an updated take on Ray Bradbury’s stories of smalltown America (like the episode directed by Jodie Foster featuring a cameo by Shane Carruth—the time traveller’s time traveller).

Years and Years, BBC iPlayer

A near-future family and political drama by Russell T Davies. Subtlety has never been his strong point and the polemic aspects of this are far too on-the-nose to take seriously. Characters will monologue for minutes while practically waving a finger at you out of the television set. But it’s worth watching for Emma Thompson’s performance as an all-too believable populist politician. Apart from a feelgood final episode, it’s not light viewing so maybe not the best quarantine fodder.

For All Mankind, Apple TV+

An ahistorical space race that’s a lot like Mary Robinette Kowal’s Lady Astronaut books. The initial premise—that Alexei Leonov beats Neil Armstrong to a moon landing—is interesting enough, but it really picks up from episode three. Alas, the baton isn’t really kept up for the whole series; it reverts to a more standard kind of drama from about halfway through. Still worth seeing though. It’s probably the best show on Apple TV+, but that says more about the paucity of the selection on there than it does about the quality of this series.

Avenue Five, Now TV

When it’s good, this space-based comedy is chucklesome but it kind of feels like Armando Iannucci lite.

Picard, Amazon Prime

It’s fine. Michael Chabon takes the world of Star Trek in some interesting directions, but it never feels like it’s allowed to veer too far away from the established order.

The Outsider, Now TV

A tense and creepy Stephen King adaption. I enjoyed the mystery of the first few episodes more than the later ones. Once the supernatural rules are established, it’s not quite as interesting. There are some good performances here, but the series gives off a vibe of believing it’s more important than it really is.

Better Call Saul, Netflix

The latest series (four? I’ve lost count) just wrapped up. It’s all good stuff, even knowing how some of the pieces need to slot into place for Breaking Bad.

Normal People, BBC iPlayer

I heard this was good so I went to the BBC iPlayer app and hit play. “Pretty good stuff”, I thought after watching that episode. Then I noticed that it said Episode Twelve. I had watched the final episode first. Doh! But, y’know, watching from the start, the foreknowledge of how things turn out isn’t detracting from the pleasure at all. In fact, I think you could probably watch the whole series completely out of order. It’s more of a tone poem than a plot-driven series. The characters themselves matter more than what happens to them.

Hunters, Amazon Prime

A silly 70s-set jewsploitation series with Al Pacino. The enjoyment comes from the wish fulfillment of killing nazis, which would be fine except for the way that the holocaust is used for character development. The comic-book tone of the show clashes very uncomfortably with that subject matter. The Shoah is not a plot device. This series feels like what we would get if Tarentino made television (and not in a good way).

I met Sandijs of Froont fame when I was in Austin for Artifact back in May. He mentioned how he’d like to put on an event in his home city of Riga, and I said I’d be up for that. So last weekend I popped over to Latvia to speak at an event he organised at a newly-opened co-working space in the heart of Riga.

That was on Friday, so Jessica I had the rest of the weekend to be tourists. Sandijs rented a car and took us out into the woods. There, in the middle of a forest, was an observatory: the Baldone Schmidt telescope.

The day we visited was the Summer soltice and we were inside the observatory getting a tour of the telescope at the precise moment that the astronomical summer began.

It’s a beautiful piece of machinery. It has been cataloging and analysing carbon stars since the ’60s.

Nowadays, the images captured by the telescope go straight into a computer, but they used to be stored on glass plates. Those glass plates are now getting digitised too. There’s one person doing all the digitising. It takes about forty minutes to digitise one glass plate. There are approximately 22,000 glass plates in the archive.

It’s going to be a long process. But once all that data is available in a machine-readable format, there will inevitably be some interesting discoveries to made from mining that treasure trove.

The telescope has already been used to discover a dwarf planet in the asteroid belt. It’s about 1.5 kilometers wide. Its name is Baldone.

I’m feeling quite refreshed and ready for another day of geekery. There weren’t too many drinking shenanigans going on last night.

The official watering hole for the FOWA drinkipoos turned out to be a yuppie nightmare. The entrance hallway was filled with gaudy images that were probably intended to recall 1950s pin-ups but actually just looked like page 3 pages torn from a tatty copy of The Sun. The drinks were ludicrously overpriced and getting out of the toilets required a significant toll charge. All of this would have been mitigated if there were some ancillary benefits such as watching young nubile bodies gyrating on a dancefloor but a sign at the entrance made it very clear that dancing was forbidden. This being England, the sign added, “we apologise for the inconvenience.”

Before long, a rebellion was organised and a gaggle of geeks made a mass exodus to a lovely cosy pub across the street. Happiness and chattiness emerged. After that, there was time for one civilised nightcap in the hotel bar with the dynamic duo of Tara and Chris, Google’s Jonathan Rochelle (a scholar and a gentleman) and Natalie—free from Simon’s clutches while he worked frantically on his slides.

It’s day two of FOWA now and there’s still no sign of free WiFi. Khoi has kindly given me a BT Openzone scratch’n’sniff WiFi card he got yesterday so I’ll use that to dip in and out of the river of connectivity and expand on this running commentary throughout the day.

Mark Anders

Adobe kicked off the day with a Flex demo. Having attended Flash on the Beach, there wasn’t anything new for me here but it was interesting to watch other people’s reactions to the speed of Actionscript 3 and the ease of downloading an Apollo app.

Chris Wilson

Microsoft’s Chris Wilson is on stage giving a state of the Web address. He talked about the origins of Ajax, gave a nice shout out to microformats and he mentioned the power of tagging (Hi, Chris!). There’s plenty of talk about security which isn’t that enthralling to me personally but its probably the most important aspect of IE7 for most people on the planet. Alpha transparency in PNGs; now that’s more like it.

Khoi Vinh

Khoi is talking about The Future (capitalisation intentional) which will, as he says, be awesome. But first, let’s hear about some of the design challenges at The New York Times. He’s showing some nice examples of what art direction is. You’ll see art direction in the print version of the paper all the time, but the online counterparts are just templated. There are exceptions like the fifth anniversary of the September 11th attacks and the infographics for the November elections, but of course these are events that are predictable and can be planned for. For breaking news, real-time design just isn’t possible… yet.

Khoi makes an interesting point about the schizophrenia in new technology. At the same time that we’re getting into hi-def television and DVDs, we’re also flocking to YouTube even though the video quality is really lo-fi. And while SLR cameras are getting more and more powerful, we’re using crappy little camera phones more and more. This schizophrenia throws up some design challenges for a media outlet like The New York Times.

There’s no such thing as a free feature, says Khoi. And remember, the more expressive a designer gets, the more the user has to pay for it (download times and such). So for any new feature, there must be a really valid reason for it to exist. Oh, and options are obstructions. Too many prefs are a sign of unresolved design issues that couldn’t be squeezed into the main interface.

Thank you, Khoi. And now it’s Simon’s turn. Hmmmm… I wonder what he’ll be talking about: OpenID, perhaps?

Simon Willison

Oh man, Simon’s on a roll. Talking a mile a minute, getting jibes in at Microsoft, cracking jokes about Ben and Mena Trott… he’s got the audience in the palm of his twirling, whizzing hand.

Long story, short: OpenID rocks. If you’re creating any kind of membership-based site, you need to check this out. If you’re member of a lot of different sites, you need to check this out. Oh, and in case you missed it, both AOL and Digg announced support for OpenID over the past few days. The momentum looks unstoppable at this stage.

I love the fact that the evangelism for OpenID is coming from passionate developers like Simon, not from some corporate representative. Like the microformats movement, it’s bottom-up rather than top-down. Other companies are buying slots at this conference to pitch their products but Simon gets to talk about OpenID because it’s so freakin’ cool and can’t simply be ignored.

Ah, OpenID and microformats: now there’s a cool combo. Simon has won my heart and the hearts of everyone else in the audience, I suspect. He’s talking about portable social networks and everything. Bravo, Mr. Willison!

Jonathan Rochelle

After a pleasant lunch with some of the Last.fm posse, I’m back in the auditorium to hear what Jonathan from Google has to say about Google Docs and Spreadsheets (killer name, indeed). These aren’t the kind of Web apps I’m likely to use myself but I’m interesting in the technology behind them. I’m assuming that, given the complexity of the applications, the Ajax used will be of the non-Hijax variety.

Open Mic

Time to break out into something a little unusual. This, as Ryan puts it, is the user-generated part of the conference. Over the past few weeks, delegates have been able to log on to the FOWA site and vote for some short presentations they’d like to see at this point. The three highest-scoring subjects will now present.

1. The virtual office. Okay, that works.

2. A documentation technique called Jedi — Just Enough Documentation for Interactions. Great backronym!

3. The topic with the most votes is… which apps will succeed and which will fail in 2007? Who knows?

Daniel Appelquist

And now it’s time for a talk on mobile. Let’s hear from Daniel Appelquist from Vodaphone. I’m not entirely sure that a provider is necessarily going to be the most subjective voice on this but we’ll see.

Actually, there’s something interesting stuff here, especially around the intersection of mobile and Ajax. There’s plenty of talk about standards, so that’s all good. I’ll have to corner him later for a chat.

Rasmus Lerdorf

Now let’s hear from the creator of PHP, Rasmus Lerdorf. He’s taking us on a trip down memory lane, looking at Mosaic and early versions of HTML and PHP. Rasmus basically wrote PHP to scratch his own itch—it’s the typical open source story.

Here’s a reassuring confession from someone who has written a programming language:

I hate programming. It’s tedious. It’s no fun. It’s like flying: sitting in a smelly metal tube with other people. But I love problem-solving.

Looking at PHP today, it’s a lot more verbose. The Computer Science geeks like it now but it sure has moved far away from being a quick and dirty tool for getting something done. Ironically, there are students today that only have a background in object-oriented programming and have to be taught what procedural programming is.

Here’s an interesting idea on why people join an open-source community: oxytocin, a neuropeptide otherwise known as nature’s trust hormone. That’s in addition to the usual incentives like self-interest and self-expression. It’s the same motivation that drives people to play World of Warcraft in a big way. Open source projects like PHP are like Web 2.0 community sites: Flickr, Digg and Wikipedia would be nothing without the user-contributed content. The same goes for any open-source project.

In addressing the issue of performance, Rasmus has lost me but that’s due to my own mental deficiency rather than any fault with his presentation style.

Security is even tougher. As he says, “basically, you can never click on a link.” He has two browsers: one for browsing and one for sites that have personal data. It’s kind of paranoid, it’s kind of sad but, when you understand the consequences of cross-site scripting, it’s entirely justified.

PHP5 makes it trivially easy to take XML from Web services and do stuff with it. I can vouch for that.

Time for a quick announcement.

Tariq Krim

Tariq is from Netvibes. I haven’t played with it myself but Mike Stenhouse was raving about it yesterday.

There’s a big announcement coming right now. Here it is… a Universal Widget API or UWA if you prefer a TLA.

If you care, you heard it here first folks.

Wait, here’s another announcement: support for OpenID. Yay! All the cool kids are doing it.

Right. Make way for the guys from Moo.

Richard Moross and Stefan Magdalinski

Print is dead? Bollocks says Richard. And of course he’s right. Derek Powazek would agree, I’m sure.

Moo cards are cool. I’ve got some: little cards with my Flickr food pictures and the URL of Principia Gastronomica. A significant proportion of this audience also have Moo cards. Best of all, anybody here can get free Moo cards if they give these guys a business card in return.

Business cards don’t have to be boring. They can tell a story.

With Moo cards, the difference makes all the difference. Y’know, Qoop launched much the same product—business cards made with the Flickr API—a week before Moo cards launched. But Moo could compete on the differences: unusual size and high-quality recycled card. Everybody talked about Moo cards; nobody talked about Qoop’s cards.

Partnership is everything for Moo. Without Flickr, they’d be nothing.

Marketing is a four letter word: free. Giving away free cards is great marketing. I concur: the free cards I got from Moo clinched the decision to buy cards from them.

The attention to detail in Moo’s physical package really seals the deal. There are little Easter eggs in there and the luggage-tag card that comes with every pack gets everyone talking. There’s an incredible amount that has to be done by hand but that’s what guarantees the right level of quality.

Now Stefan is giving a peak behind the curtain at the technical side of Moo. If you want to know what he’s saying, well, you should have come to the conference then, shouldn’t you? You can’t expect me to do everything now, can you?