The Gov.UK Design System team have discovered that using the HTML element <input type="number"> creates some surprising problems in certain environments.
Some of the limitations in assistive technologies such as Dragon Naturally Speaking are disappointing but unsurprising.
But Chrome deciding to convert large numbers to exponential notation is rather more eyebrow-raising. Then there is Safari adding commas to long numbers that are in fact credit card numbers. You have to wonder about some of the decision-making among browser vendors.
A fascinating myth-busting piece. Lego isn’t more expensive than it used to be. But this article contains some interesting theories as to why people perceive it to be more expensive than it used to be.
Radiohead there, just casually adding an extra minute to a legendary 20-year-old track.
They may have declared that they are taking a “year away” from music, but they still manage to find ways of keeping fans going.
The recent launch of the Radiohead Public Library generously provides free access to a vast amount of archive material from throughout their career. The addition of this extended version of Treefingers is among the content that has been added even since the launch.
Who needs new Radiohead when you can have new old Radiohead?
This year marks the 30th anniversary of the World Wide Web, so there’s been a lot of pixels spilled on “the initial promises of the web”—one of which was the idea that you could select “view source” on any page and easily teach yourself what went into making it display like that.
This article makes a great point about how this promise only truly works if you can speak English.
The process described above is exactly how I learned HTML. The fact that I would have to use “color” instead of “colour” is a mildly amusing inconvenience. I hadn’t really considered before how it must feel if you don’t speak any English.
I don’t speak Russian, and assuming you don’t either, does <заголовок> and <заглавие> and <тело> and <п> still feel like something you want to tinker with?
A history of community politics, how it morphed to become people pointing at potholes, and ultimately undermined politics completely.
Activism was no longer about helping people get the power to solve their own problems, but rather demanding someone at “the council” solve them for them. Rather than “we can help you do things”, the message was now that “something must be done” and “somebody must do something”, but that somebody is almost always somebody else…
Activism based around ideology, empowering people and giving them the ability to sort things out is hard, activism based around being the most efficient local busybody and delivering the most leaflets is comparatively easy.
I have often wondered about political leaflets that are all about a hodgepodge of local issues, but are strangely noncommittal about what should be done about them. All of the leaflets, in every colour, say largely the same noncommittal things about small-to-medium-sized local issues. They almost always fail to adequately explain why Candidate X is the person to deal with it.
It’s all so uninspiring. Perhaps we need to present some actual political ideas again.
A fascinating history of messaging from 1996’s ICQ to the present day. It details how a series of seemingly minor design decisions have had massive privacy implications and ultimately transformed how humans communicate.
In 1998, Gescom released MiniDisc, said to be the first ever MiniDisc-only release. (I believe the CD artwork, shown here, is a photo of a Sony bigwig showing it off at an event.)
A mere eight years later, MiniDisc was already obsolete, at least in the home. The music was given a CD release, and that is the version I have.
The music was specifically designed to take advantage of MiniDisc features that weren’t available on CDs. The original release even included a running time that was precise to a hundredth of a second, something not possible with CDs. Also unlike CDs, MiniDiscs could handle gapless shuffle.
The music on Gescom’s MiniDisc consisted of 45 pieces divided over 88 tracks. So, for example, Pricks actually consisted of four different tracks varying in length from 5 seconds to 3:55.
The idea was that the listener could shuffle for a new experience every time. Or, they could create their own loops and experiments by playing tracks in different orders.
Gescom is a collective of experimental electronic musicians, presumed to be centred around Autechre’s Sean Booth and Rob Brown, but also said to include up to 30 others. In addition to Booth\Brown, MiniDisc was made by Russell Haswell.
The music itself is ceaselessly experimental. Even in the context of Autechre’s work, this was pretty out there.
But listening today, it’s striking how MiniDisc seems to have laid the groundwork for some of Autechre’s most recent music, particularly on NTS Sessions.
The perils of using an overly-familiar tone of voice in your copy. There are some cracking examples here of support content that prioritises daft quips over getting to the point.
You’ve ordered a package and you want to know how long delivery will take. It’s a straight forward question, so you would expect to find out quickly and easily. What you don’t need is a couple lines of heavily branded content standing between you and your answer. You just want to know how long the delivery will take…