Reply to Sara Soueidan about front end development feeds

Replied to a tweet by Sara SoueidanSara Soueidan (Twitter)

I tinker on my own website and frequently write about IndieWeb related technologies because the web is my social media platform. The feed you might appreciate most is https://boffosocko.com/category/indieweb/feed/.

I have feeds for nearly every tag/category or post type on my site for convenience (just add /feed/ to almost anything). You could subscribe to my firehose feed, but I suspect even my mother would tire of it quickly.

I’m curious if you have OPML files or similar bundles of feeds you follow that are shareable or subscribe-able?

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Over 1 million Webmentions can’t be wrong. Join the next revolution in web communication. Add the Webmentions standard to your website to solve the biggest communications problem on today’s internet and add rich context to your content.

https://alistapart.com/article/webmentions-enabling-better-communication-on-the-internet

My post on A List Apart is up!

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Reposted a tweet by Devon ZuegelDevon Zuegel (Twitter)
In this first episode, I spoke with Andy Hertzfeld, who architected the operating system of the original Macintosh https://t.co/CqOLwm7LPm”
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An Indieweb Podcast: Episode 4 “Webmentions and Privacy”

Episode 4: Webmentions and Privacy


Running time: 1 h 16m 00s | Download (23.8 MB) | Subscribe by RSS

Summary: With the GDPR regulations coming into effect in Europe on May 25th, privacy seems to be on everyone’s mind. This week, we tackle what webmentions are, using them for backfeed, and the privacy implications.

 

Huffduff this Episode


Show Notes

Related Articles and Posts

Related IndieWeb wiki pages

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Following Adam Procter

Followed Adam Procter (adamprocter.co.uk)

designer-practitioner-researcher

I'm the Programme Leader for BA (Hons) Games Design & Art and Senior Teaching Fellow at Winchester School of Art (WSA). I sometimes get the chance to make Apps, Web stuff and work as UX and UI designer, developer and consultant.

I run the research-led teaching programme BA (Hons) Games Design & Art and am responsable for the programme structure, ethos, recruitment and attainment of all students. I teach across a wide range of games subject areas in all years as well but my main teaching revolves around year 3 and the development of final projects which can be viewed here http://winchester.games. I keenly teach both the academic theory and the practical application.

"Most learning is not the result of instruction. It is rather the result of unhampered participation in a meaningful setting." — Ivan Illich

The area I  mainly research is connected technology and edutech. I am investigating how to design tools for design education and the digtial medium via connected devices. My focus is on ethical, delightful design practice that embraces the studio culture. I am keen on open education, open practice and co-ops. This research is currently within the structure of a Webscience PhD, you can keep up to date at researchnot.es.

Reply to The Indieweb privacy challenge (Webmentions, silo backfeeds, and the GDPR) by Sebastian Greger

Replied to The Indieweb privacy challenge (Webmentions, silo backfeeds, and the GDPR) by Sebastian GregerSebastian Greger (sebastiangreger.net)
Originally intended to showcase a privacy-centred implementation of emerging social web technologies – with the aim to present a solution not initially motivated by legal requirements, but as an example of privacy-aware interaction design – my “social backfeed” design process unveiled intricate challenges for Indieweb sites, both for privacy in general and legal compliance in particular.

Again Sebastian Greger has written up a well-thought-out and nuanced approach to design. Here he discusses privacy and GDPR with a wealth of research and direct personal experience in these areas. He’s definitely written something interesting which I hope sparks the beginning of a broader conversation and evaluation of our ethics.

There’s so much to think about and process here, that I’ll have to re-read and think more specifically about all the details. I hope to come back to this later to mark it up and annotate it further.

I’ve read relatively deeply about a variety of privacy issues as well as the weaponization of data and its improper use by governments and businesses to unduly influence people. For those who are unaware of this movement over the recent past, I would highly recommend Cathy O’Neil’s text Weapons of Math Destruction: How Big Data Increases Inequality and Threatens Democracy, which provides an excellent overview with a variety of examples about how the misuse of data can be devastating not just to individuals who are broadly unaware of it, but entire segments of society.

There is a lot of publicly available data we reveal via social media and much of it one might flippantly consider “data exhaust” which has little, if any inherent value by itself. Unfortunately when used in aggregate, it can reveal striking things about us which we may either not be aware of ourselves or which  we wouldn’t want to be openly known.

My brief thought here is that much like the transition from the use of smaller arms and handguns, which can kill people in relatively small numbers, to weapons like machine guns on up to nuclear weapons, which have the ability to quickly murder hundreds to millions at a time, we will have to modify some of our social norms the way we’ve modified our “war” norms over the past century. We’ll need to modify our personal social contracts so that people can still interact with each other on a direct basis without fear of larger corporations, governments, or institutions aggregating our data, processing it, and then using it against us in ways which unduly benefit them and tremendously disadvantage us as individuals, groups, or even at the level of entire societies.

In my mind, we need to protect the social glue that holds society together and improves our lives while not allowing the mass destruction of the fabric of society by large groups based on their ability to aggregate, process, and use our own data against us.

Thank you Sebastian for kicking off a broader conversation!

Disclaimer: I’m aware that in posting this to my own site that it will trigger a tacit webmention which will ping Sebastian Greger’s website. I give him permission to display any and all data he chooses from the originating web page in perpetuity, or until such time as I send a webmention either modifying or deleting the content of the originating page. I say this all with some jest, while I am really relying on the past twenty years of general social norms built up on the internet and in general society as well as the current practices of the IndieWeb movement to govern what he does with this content.

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👓 Gmail’s biggest redesign is now live | The Verge

Read Gmail’s biggest redesign is now live by Vlad Savov (The Verge)
Snoozing, nudging, hover actions, and a new sidebar — it’s a mobile app on the web!

I’ve been using gmail for about 2 years now and am curious to see what this delivers though I do have to admit I’m itching to going back to my old methods of owning may own email and data.

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Master View template

Filed an Issue IndieWeb Post Kinds (GitHub)
Adds support for responding to and interacting with other sites using the standards developed by the Indieweb Community

For ease-of-use as well as to help designers, theme builders, and maybe even Gen2 it might be useful to have a “master template” for views which includes all of the output of the data fields within Post Kinds in a single view.

If done in a relatively modular fashion with good commenting, perhaps even Gen2 folks could more easily delete or move pieces within such a master template to mash up various pieces to get what they’d like to display. Including alternate versions for displaying things could be useful as well (eg: raw display of things like start time and end time as well as a separate calculated duration time based on these two.)

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👓 Why Are Newspaper Websites So Horrible? | City Lab

Read Why Are Newspaper Websites So Horrible? by Andrew Zaleski (CityLab)
Blame Google, for a start.

Nothing great or new here. Also no real solutions, though knowing some of the history and the problems, does help suggest possible solutions.

h/t to @ajzaleski, bookmarked on April 19, 2018 at 01:17PM

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📕 Read pages 220-356 of Just My Type: A Book about Fonts by Simon Garfield

📖 Read pages 220-356 of Just My Type: A Book about Fonts by Simon Garfield (Gotham Books, , ISBN: 978-1592406524)

Highlights, Quotes, & Marginalia

Chapter 16: Pirates and Clones

But type designers were more like apple growers cultivating unique fruit without protective fences; whenever someone stole them, they could argue that apples were the result of the sun and rain and God’s own fair intervention.

Highlight (yellow) – 16. Pirates and Clones > Page 227

Added on Sunday, December 31, 2017 morning

… and font-editing software such as Fontographer.

Highlight (yellow) – 16. Pirates and Clones > Page 228

Might be worth playing around with this program?
Added on Sunday, December 31, 2017 morning

A recent example concerned Segoe, created by Monotype and licensed to Microsoft, which bears a close relationship to Frutiger. Their common usage is different (Segoe for screen display at small sizes, Frutiger for signage), …

Highlight (yellow) – 16. Pirates and Clones > Page 229

Added on Sunday, December 31, 2017 morning

Chapter 17: The Clamour from the Past

There are hundreds of small presses in the Uk, Europe and the United States. One of the newest is White’s Books, which in the spring of 2010 had just eight titles in its list, …

Highlight (yellow) – 17. The Clamour from the Past > Page 246

I’m curious to look at some of these.
Added on Sunday, December 31, 2017 morning

Your choice may often come down to “Has it got a small caps italic?” So few of them do.

Highlight (yellow) – 17. The Clamour from the Past > Page 250

Ha! I have in fact actually made this very decision before.
Added on Sunday, December 31, 2017 morning

There is another rare feature that places his [White’s] books among the remnants of a type museum–the setting of a catchword at the bottom of the right-hand page.

Highlight (yellow) – 17. The Clamour from the Past > Page 250

I did always appreciate this vestige of publishing.
Added on Sunday, December 31, 2017 morning

Sabon

Sabon was developed in the early 1960s for a group of German printers who were grumbling about the lack of a ‘harmonized’ or uniform font that would look the same whether set by hand or on a Monotype or Linotype machine. They were quite specific about the sort of font that might fit the bill, rejecting the modern and fashionable in favour of solid sixteenth-century tradition–something modeled on Garamond and Granjon. They also wanted the new font to be five percent narrower than their existing Monotype Garamond, in order to save space and money.

Highlight (yellow) – Sabon > Page 251

Added on Sunday, December 31, 2017 morning

Chapter 18: Breaking the Rules

Here are the rules as [Paul] Felton considers God intended them:

  1. Thou shalt not apply more than three typefaces in a document.
  2. Thou shalt lay headlines large and at the top of the page.
  3. Thou shalt employ no other type size than 8pt to 10pt for body copy.
  4. Remember that a typeface that is not legible is not truly a typeface.
  5. Honour thy kerning, so that white space becomes visually equalized between characters.
  6. Thou shalt lay stress discreetly upon elements within text.
  7. Thou shalt not use only capitals when setting vast body copy.
  8. Thou shalt always align letters and words on a baseline.
  9. Thou shalt use flush-left, ragged-right type alignment.
  10. Thou shalt not make lines too short or too long.
Highlight (yellow) – 18. Breaking the Rules > Page 255-256

Quick synopsis of Felton’s book The Ten Commandments of Typography / Type Heresy
Added on Sunday, December 31, 2017 morning

Or this observation on digital type from the design critic Paul Hayden Duensing: ‘Digitizing [the seventeenth-century typeface] Janson is like playing Bach on synthesizer.’

Highlight (yellow) – 18. Breaking the Rules > Page 258

Added on Sunday, December 31, 2017 morning

… type was like painting and architecture: an elitism prevailed, and what you produced was only half the story, and what you said about it counted just as much.

Highlight (yellow) – 18. Breaking the Rules > Page 259

Added on Sunday, December 31, 2017 morning

But he [Sebastian Carter] also championed the not-such-a-great-job, the pieces of design and printing that didn’t turn out to be beautiful or clear, merely interesting. He illustrated his talk with some items that were ‘pretty cruddy’, and suggested that these too had a place in our world. ‘I would not want to live in a world of exclusively good design at the bus-ticket level,’ he said.

Highlight (yellow) – 18. Breaking the Rules > Page 261

delivered mid-October 2004 Beatrice Warde Memorial Lecture at the St. Bride Institute
Added on Sunday, December 31, 2017 morning

Thus armed, ‘the designers of tomorrow will not look back; we give them the chance to fail abjectly and completely; they’re all in the typographic gutter and some of them are looking at their scars.’ The result, of course, would bring forth more failure, but also types of originality and brilliance.

Highlight (yellow) – 18. Breaking the Rules > Page 262

This sounds to me like statistical mechanics at work in design. Many will be in the median, some will be three signma out and either be truly great or out of the game altogether. The question is how to encourage more at the higher end, knowing that evolution is a very strong selector. In fact what does the distribution over a few generations look like with evolution in play? How strong is it?
Added on Sunday, December 31, 2017 morning

Peace

Highlight (gray) – 18. Breaking the Rules > Page 265

Why wasn’t this used in it’s actual face like the other examples? Was it not available? Or too expensive for one word?
Added on Sunday, December 31, 2017 morning

‘Where is the language of protest now?’ he asks. ‘We have been led to believe that culture was only there as a financial opportunity.’

Highlight (yellow) – 18. Breaking the Rules > Page 265

Quote from Neville Brody
Added on Sunday, December 31, 2017 morning

The key, Brody said, in a strange echo of Morison, was ‘to change a newspaper entirely, but to make sure no one noticed. […] When we first showed it to focus groups they didn’t notice it had changed, but when we told them it had changed, they hated it.’

Highlight (yellow) – 18. Breaking the Rules > Page 266

Sounds like America’s racial culture in the last 60 years. The question is did they hate it because they’d been lied to and it was a psychological effect after-the-fact when they obviously otherwise didn’t know?
Added on Sunday, December 31, 2017 morning

Buffalo and Popaganda

Highlight (gray) – 18. Breaking the Rules > Page 267

again, no exemplars of these faces
Added on Sunday, December 31, 2017 morning

The Interrobang

the @ […] may be almost as old as the ampersand. It had been associated with trade for many centuries, known as amphora or jar, a unit of measurement. Most countries have their own term for it, often linked to food (in Hebrew it is shtrudl, meaning strudel, in Czech it is zavinac or rollmop herring) or to cute animals (Affenschwanz or monkey’s tail in German, snabel-a, meaning “the letter a, with a trunk,” in Danish, sobaka or dog in Russian), or to both (escargot in French).

Highlight (yellow) – Interrobang > Page 269

Added on Sunday, December 31, 2017 evening

Chapter 19: The Serif of Liverpool

… and we were sucha funny family, a little bit Alan Bennett.

Highlight (yellow) – 19. The Serif of Liverpool > Page 271

Who is Bennett? Curious cultural reference that doesn’t play in the US…
Added on Sunday, December 31, 2017 evening

Chapter 20: Fox, Gloves

Rather than ten letters of each new typeface showing in Handgloves and the rest of the alphabet shown beneath it, each font now comes with words unique to its character, style and possible use.

Highlight (yellow) – 20. Fox, Gloves > Page 291

Kind of similar to the quirkiness of paint chip color names, somewhat useful, but meant to help sales too…
Added on Sunday, December 31, 2017 evening

Coles introduced me to Chris Hamamoto, who had a long list of Handgloves alternatives on his computer. Anyone in the office could add to it,
butthere were certain guidelines:

The key letters, in order of importance, are: g, a, s, e. Then there is: l, o, I. And of lesser importance but still helpful: d (or b), h, m (or n), u, v.

Verbs or generic nouns are preferable because they don’t describe the font (like adjectives) or confuse the sample word with a font name (like proper nouns).

Avoid tandem repeating letters unless showing off alternatives.

Use one word, as spaces can get too large and distracting at display sizes.

Highlight (yellow) – 19. The Serif of Liverpool > Page 293

This could actually be a rather interesting information theory problem.
Added on Sunday, December 31, 2017 evening

Chapter 21: The Worst Fonts in the World

‘Real men don’t set Souvenir,’ wrote the type scholar Frank Romano in the early 1990’s, […] ‘Souvenir is a font fatale … We could send Souvenir to Mars, but there are international treaties on pollution in outer space … remember, friends don’t let friends set Souvenir,’

Highlight (yellow) – 21. The Worst Fonts in the World > Page 301-302

Souvenir bold evokes 1970’s porn and Souvenir Light evokes the Love Story movie poster, romance novels, and maybe the poster for Flowers in the Attic for me.
Added on Sunday, December 31, 2017 evening

Chapter 22: Just My Type

… you can fire up one of a number of software programs — TypeTool, FontLab Studio and Fontographer are the most popular — and begin your quest.

Highlight (yellow) – 22. Just My Type > Page 320

I want to look at how these work.
Added on Sunday, December 31, 2017 evening

He [Mathew Carter] replied, ‘Some aspects get easier. But if you’re doing a good job you should feel that it gets harder. If you think it’s getting easier, you ought to look out. I think it means you’re getting lazy.’

Highlight (yellow) – 22. Just My Type > Page 321

Carter on whether computers have made the life of a type designer any easier.
Added on Sunday, December 31, 2017 evening

In 1968 the influential graphic design review The Penrose Annual asked exactly the same things: ‘Aren’t we done yet? Why do we need all these new fonts such as … Helvetica?’
The answer, than and now, is the same. Because the world and its contents are continually changing. We need to express ourselves in new ways.

Highlight (yellow) – 22. Just My Type > Page 322

Added on Sunday, December 31, 2017 evening

‘There are only thirty-two notes on a tenor saxophone, and surely to god they’ve all been played by now.’

Highlight (yellow) – 22. Just My Type > Page 322-323

Matthew Carter on Why New Typefaces?
Added on Sunday, December 31, 2017 evening

… there is a lavish app called TypeDrawing, which takes even the plainest fonts to exciting new heights; it may be the tool that teaches children about type–the modern version of the John Bull printing kit.

Highlight (yellow) – 22. Just My Type > Page 323-324

Added on Sunday, December 31, 2017 evening

…a set of Type Trumps–the designer’s version of the kids’ card game, with each font card rated for legibility, weight and special power.

Highlight (yellow) – 22. Just My Type > Page 324

an interesting set of “trading cards”
Added on Sunday, December 31, 2017 evening

Guide to highlight colors

Yellow–general highlights and highlights which don’t fit under another category below
Orange–Vocabulary word; interesting and/or rare word
Green–Reference to read
Blue–Interesting Quote
Gray–Typography Problem
Red–Example to work through

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👓 How the design firm behind the Xbox built the bike of the future | The Verge

Read How the design firm behind the Xbox built the bike of the future by David Pierce (The Verge)
"We wanted you to be able to take the bike and go with how the city moves." Teague was enlisted to design a new kind of bike by Oregon Manifest, a non-profit dedicated to making the world think differently about bikes. Its Bike Design Project gave firms in five cities the opportunity to build a bike made with their city in mind; the public then voted on the winner, which will enter a limited production run from Fuji Bikes. The New York City bike had a USB phone charger built in; The Evo, from San Francisco, was all about modular storage. Chicago's Blackline bike was a rugged pothole-conquerer of a bike, and Portland's PDX came with an app to personalize the ride just for you. For every different city, a different bike. But the voters picked Seattle. They picked Denny, the bike Jackson and the team at Teague designed with Sizemore Bicycles, a custom-bike maker in the city.

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❤️ Nick Jones – Interface Prototyper / Designer | Adactio.com

Liked Nick Jones - Interface Prototyper / Designer by Jeremy Keith (adactio.com)
A really interesting and well-executed portfolio site, utterly let down by the tone of this demeaning and insulting piece of copy: WARNING: Do not proceed if you suffer from vertigo or if you find experimental interfaces offensive. (Pssst: copy is also interface.)

Chris Aldrich is reading “Aggressive design caused Samsung Galaxy Note 7 battery explosions”

Read Aggressive design caused Samsung Galaxy Note 7 battery explosions (Instrumental)(2016 years 11 months 1 day 1 hour)
In September, the first reports of Samsung Galaxy Note 7 batteries exploding hit social media.  At first, Samsung identified the issue as one relating to the lithium polymer battery manufacturing process by Samsung SDI, where too much tension was used in manufacturing, and offered to repair affected phones.  But several weeks later, some of the batteries in those replacement units also exploded once they were in the hands of customers -- causing Samsung to make the bold decision to not only recall everything, but to cancel the entire product line. This is every battery engineer’s nightmare. As hardware engineers ourselves, Sam and I followed the story closely.  If it was only a battery part issue and could have been salvaged by a re-spin of the battery, why cancel the product line and cede several quarters of revenue to competitors?  We believe that there was more in play: that there was a fundamental problem with the design of the phone itself.
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