Jeremy Keith

Ten years ago today I coined the shorthand “js;dr” for “JavaScript required; Didn’t Read”. - Tantek

Practice Progressive Enhancement.

Build first and foremost with forgiving technologies, declarative technologies, and forward and backward compatible coding techniques.

All content should be readable without scripting.

If it’s worth building on the web, it’s worth building it robustly, and building it to last.

Build It Yourself | Armin Ronacher’s Thoughts and Writings

We’re at a point in the most ecosystems where pulling in libraries is not just the default action, it’s seen positively: “Look how modular and composable my code is!” Actually, it might just be a symptom of never wanting to type out more than a few lines.

It always amazes me when people don’t view dependencies as liabilities. To me it feels like the coding equivalent of going to a loan shark. You are asking for technical debt.

There are entire companies who are making a living of supplying you with the tools needed to deal with your dependency mess. In the name of security, we’re pushed to having dependencies and keeping them up to date, despite most of those dependencies being the primary source of security problems.

But there is a simpler path. You write code yourself. Sure, it’s more work up front, but once it’s written, it’s done.

“Wait, not like that”: Free and open access in the age of generative AI

Anyone at an AI company who stops to think for half a second should be able to recognize they have a vampiric relationship with the commons. While they rely on these repositories for their sustenance, their adversarial and disrespectful relationships with creators reduce the incentives for anyone to make their work publicly available going forward (freely licensed or otherwise). They drain resources from maintainers of those common repositories often without any compensation.

Even if AI companies don’t care about the benefit to the common good, it shouldn’t be hard for them to understand that by bleeding these projects dry, they are destroying their own food supply.

And yet many AI companies seem to give very little thought to this, seemingly looking only at the months in front of them rather than operating on years-long timescales. (Though perhaps anyone who has observed AI companies’ activities more generally will be unsurprised to see that they do not act as though they believe their businesses will be sustainable on the order of years.)

It would be very wise for these companies to immediately begin prioritizing the ongoing health of the commons, so that they do not wind up strangling their golden goose. It would also be very wise for the rest of us to not rely on AI companies to suddenly, miraculously come to their senses or develop a conscience en masse.

Instead, we must ensure that mechanisms are in place to force AI companies to engage with these repositories on their creators’ terms.

I’ve had my head down for the past six months putting the line-up for UX London together. Following the classic design cliché, the process was first divergent, then convergent.

I spent months casting the net wide, gathering as many possible candidates as I could, as well as accepting talk proposals (of which there were lots). It was fun—this is when the possibility space is wide open.

Then it was crunch time and I had to start zeroing in on the final line-up. It wasn’t easy. There were so many times I agonised over who’d be the right person to deliver the right talk.

But as the line-up came together, I started getting very excited. And now when I step back and look at the line-up, I’m positively vibrating with excitement—roll on June!

I think it was really useful to have a mix of speakers that I reached out to, as well as talk proposals. If I was only relying on my own knowledge and networks, I’m sure I’d miss a lot. But equally, if I was only relying on talk proposals, it would be like searching for my keys under the streetlight.

Putting the line-up on the website wasn’t quite the end of the work. We got over 100 proposals for UX London this year. I made sure to send an email back to each and every one of them once the line-up was complete. And if anyone asked for more details as to why their proposal didn’t make it through, I was happy to provide that feedback.

After they went to the trouble of submitting a proposal, it was the least I could do.

Oh, and don’t forget: early-bird tickets for UX London are only available until Friday. Now’s the time to get yours!

I left Twitter in 2022. With every day that has passed since then, that decision has proven to be correct.

(I’m honestly shocked that some people I know still have active Twitter accounts. At this point there is no justification for giving your support to a place that’s literally run by a nazi.)

I also used to have some Twitter bots. There were Twitter accounts for my blog and for my links. A simple If-This-Then-That recipe would poll my RSS feeds and then post an update whenever there was a new item.

I had something something similar going for The Session. Its Twitter bot has been replaced with automated accounts on Mastodon and Bluesky (I couldn’t use IFTTT directly to post to Bluesky from RSS, but I was able to set up Buffer to do the job).

I figured The Session’s Twitter account would probably just stop working at some point, but it seems like it’s still going.

Hah! I spoke too soon. I just decided to check that URL and nothing is loading. Now, that may just be a temporary glitch because Alan Musk has decided to switch off a server or something. Or it might be that the account has been cancelled because of how I modified its output.

I’ve altered the IFTTT recipe so that whenever there’s a new item in an RSS feed, the update is posted to Twitter along with a message like “Please use Bluesky or Mastodon instead of Twitter” or “Please stop using Twitter/X”, or “Get off Twitter—please. It’s a cesspit” or “If you’re still on Twitter, you’re supporting a fascist.”

That’s a start but I need to think about how I can get the bot to do as much damage as possible before it’s destroyed.

Brighton is blessed with plenty of traditional Irish music sessions. You need some kind of almanac to keep track of when they’re on. Some are on once a month. Some are twice a month. Some are every two weeks (which isn’t the same as twice a month, depending on the month).

Sometimes when the stars align just right, you get a whole week of sessions in a row. That’s what happened last week with sessions on Monday, Tuesday, Wednesday, and Thursday. I enjoyed playing my mandolin in each of them. There was even a private party on Saturday night where a bunch of us played tunes for an hour and a half.

There’s nothing quite like playing music with other people. It’s good for the soul.

MS Edge Explainers/Performance Control Of Embedded Content / explainer.md at main · MicrosoftEdge/MSEdgeExplainers

I like the look of this proposal that would allow authors to have more control over network priorities for third-party iframes—I’ve already documented how I had to use a third-party library to fix this problem on the Salter Cane site.

Plane GPS systems are under sustained attack - is the solution a new atomic clock? - BBC News

A fascinating look at the modern equivalent of the Longitude problem.

I really like Brad’s new project, Cold Album Drumming:

Brad Frost plays drums to the albums he knows intimately, but has never drummed to before. Cover to cover. No warm-up. No prep. Totally cold. What could possibly go wrong?

I got a kick out of watching him play along to Radiohead’s In Rainbows and The Decemberist’s The Crane Wife.

I was really into The Decemberists in the first decade of the 21st Century. I remember seeing them in a long-gone Brighton venue more than twenty years ago.

But I kind of stopped paying attention to them after they released The Hazards Of Love. Not because I didn’t like that album. Quite the opposite. I love that album. I think in my mind I kind of thought “That’s it, they’ve done it, they can go home now.”

It’s exactly the kind of album I should not like. It’s a concept album. A folk-rock opera.

When I was growing up, concept albums were the antithesis of cool. Prog rock was like an insult.

You have to remember just how tribal music was back in the ’70s and ’80s. In my school, I remember the divide between the kind of people who listened to The Cure and The Smiths versus the kind of people who listened to Prince or Queen. Before that you had the the mods and the rockers, which in hindsight makes no sense—how are The Who and The Jam not rockers?

Looking back now, it’s ridiculous. I get the impression that for most people growing up in the last few decades, those kind of distinctions have been erased. People’s musical intake is smeared across all types and time periods. That is a good thing.

Anyway, a folky prog-rock opera like The Hazards Of Love is exactly the kind of thing that past me would’ve hated. Present me adores it. Maybe it’s because it’s got that folky angle. I suspect Colin Meloy listened to a lot of Horslips—heck, The Decemberists even did their own mini version of The Táin.

Speaking of mythic Irish language epics, I really like John Spillane’s Fíorusice:

Fíoruisce - The Legend of the Lough is a three-act Gaelic folk opera composed by Irish artist John Spillane. It is a macaronic or bilingual work. The work is an imagined re-Gaelicization of the Victorian Cork fairytale Fior-usga collected by Thomas Crofton Croker in the 1800’s and published in his book Fairy Legends and Traditions of the South of Ireland (1828). The story is a surreal tale culminating in a drowned kingdom, which as lore tells us, becomes The Lough in Cork city as we know it today. They say, you can see the tops of the underworld towers on a clear day and hear the music of their big party on Midsummer’s night.

Yup, it’s another concept album. And funnily enough, past me was not a fan of John Spillane either.

I first heard him when he was part of a trad band called Nomos in Cork in the early ’90s (the bódhran player’s mother was friends with my mother). I really liked their tunes but I thought the songs were kind of twee.

Over the years, the more of his songs I heard, the more I understood that John Spillane was just being completely open and honest. Past me thought that was twee. Present me really respects it. In fact, I genuinely love his songs like Johnny Don’t Go To Ballincollig and All The Ways You Wander.

And then there’s Passage West. It’s a masterpiece. I might be biased because Passage West is the next town over from Cobh, where I grew up.

So yeah, Fíorusice is something that past me would’ve disdained:

1. a concept album by
2. John Spillane in
3. the Irish language.

Present me is into all three.

It’s Bandcamp Friday today. I think I know what I’m going to get.