Journal tags: document

In their rush to cram in “AI” “features”, it seems to me that many companies don’t actually understand why people use their products.

Google is acting as though its greatest asset is its search engine. Same with Bing.

Mozilla Developer Network is acting as though its greatest asset is its documentation. Same with Stack Overflow.

But their greatest asset is actually trust.

If I use a search engine I need to be able to trust that the filtering is good. If I look up documentation I need to trust that the information is good. I don’t expect perfection, but I also don’t expect to have to constantly be thinking “was this generated by a large language model, and if so, how can I know it’s not hallucinating?”

“But”, the apologists will respond, “the results are mostly correct! The documentation is mostly true!”

Sure, but as Terence puts it:

The intern who files most things perfectly but has, more than once, tipped an entire cup of coffee into the filing cabinet is going to be remembered as “that klutzy intern we had to fire.”

Trust is a precious commodity. It takes a long time to build trust. It takes a short time to destroy it.

I am honestly astonished that so many companies don’t seem to realise what they’re destroying.

Harry popped ’round to the Clearleft studio yesterday. It’s always nice when a Clearleft alum comes to visit.

It wasn’t just a social call though. Harry wanted to run through the ideas he’s got for his UX London talk.

Wait. I buried the lede. Let me start again.

Harry Brignull is speaking at this year’s UX London!

Yes, the person who literally wrote the book on deceptive design patterns will be on the line-up. And judging from what I heard yesterday, it’s going to be a brilliant talk.

It was fascinating listening to Harry talk about the times he’s been brought in to investigate companies accused of deliberately employing deceptive design tactics. It involves a lot of research and detective work, trawling through internal communications hoping to find a smoking gun like a memo from the boss or an objection from a beleaguered designer.

I thought about this again today reading Nic Chan’s post, Have we forgotten how to build ethical things for the web?. It resonates with what Harry will be talking about at UX London. What can an individual ethical designer do when they’re embedded in a company that doesn’t prioritise user safety?

It’s like a walking into a jets pray of bullshit, so much so that even those with good intentions get easily overwhelmed.

Though I try, my efforts rarely bear fruit, even with the most well-meaning of clients. And look, I get it, no on wants to be the tall poppy. It’s hard enough to squeeze money from the internet-stone these days. Why take a stance on a tiny issue when your users don’t even care? Your competitors certainly don’t. I usually end up quietly acquiescing to whatever bad are made, praying no future discerning user will notice and think badly of me.

It’s pretty clear to me that we can’t rely on individual people to make a difference here.

Still, I take some encouragement from Harry’s detective work. If the very least that an ethical designer (or developer) does is to speak up, on the record, then that can end up counting for a lot when the enshittification hits the fan.

If you see something, say something. Actually, don’t just say it. Write it down. In official communication channels, like email.

I remember when Clearleft crossed an ethical line (for me) by working on a cryptobollocks project, I didn’t just voice my objections, I wrote them down in a memo. It wasn’t fun being the tall poppy, the squeeky wheel, the wet blanket. But I think it would’ve been worse (for me) if I did nothing.

A few months back, I wrote about how Google is breaking its social contract with the web, harvesting our content not in order to send search traffic to relevant results, but to feed a large language model that will spew auto-completed sentences instead.

I still think Chris put it best:

I just think it’s fuckin’ rude.

When it comes to the crawlers that are ingesting our words to feed large language models, Neil Clarke describes the situtation:

It should be strictly opt-in. No one should be required to provide their work for free to any person or organization. The online community is under no responsibility to help them create their products. Some will declare that I am “Anti-AI” for saying such things, but that would be a misrepresentation. I am not declaring that these systems should be torn down, simply that their developers aren’t entitled to our work. They can still build those systems with purchased or donated data.

Alas, the current situation is opt-out. The onus is on us to update our robots.txt file.

Neil handily provides the current list to add to your file. Pass it on:

User-agent: CCBot
Disallow: /

User-agent: ChatGPT-User
Disallow: /

User-agent: GPTBot
Disallow: /

User-agent: Google-Extended
Disallow: /

User-agent: Omgilibot
Disallow: /

User-agent: FacebookBot
Disallow: /

In theory you should be able to group those user agents together, but citation needed on whether that’s honoured everywhere:

User-agent: CCBot
User-agent: ChatGPT-User
User-agent: GPTBot
User-agent: Google-Extended
User-agent: Omgilibot
User-agent: FacebookBot
Disallow: /

There’s a bigger issue with robots.txt though. It too is a social contract. And as we’ve seen, when it comes to large language models, social contracts are being ripped up by the companies looking to feed their beasts.

As Jim says:

I realized why I hadn’t yet added any rules to my robots.txt: I have zero faith in it.

That realisation was prompted in part by Manuel Moreale’s experiment with blocking crawlers:

So, what’s the takeaway here? I guess that the vast majority of crawlers don’t give a shit about your robots.txt.

Time to up the ante. Neil’s post offers an option if you’re running Apache. Either in .htaccess or in a .conf file, you can block user agents using mod_rewrite:

RewriteEngine On
RewriteCond %{HTTP_USER_AGENT} (CCBot|ChatGPT|GPTBot|Omgilibot| FacebookBot) [NC]
RewriteRule ^ – [F]

You’ll see that Google-Extended isn’t that list. It isn’t a crawler. Rather it’s the permissions model that Google have implemented for using your site’s content to train large language models: unless you opt out via robots.txt, it’s assumed that you’re totally fine with your content being used to feed their stochastic parrots.

Ever get the urge to style a good document?

No? Just me, then.

Well, the urge came over me recently so I started styling this single-page site:

A Few Notes On The Culture by Iain M Banks

I’ve followed this document across multiple locations over the years. It started life as a newsgroup post on rec.arts.sf.written in 1994. Ken McLeod published it there on Iain M Banks’s behalf.

The post complements the epic series of space opera books that Iain M Banks set in the anarcho-utopian society of The Culture. It’s a fascinating piece of world building, as well as an insight into the author’s mind.

I first became aware of it many few years later, after a copy had been posted to the web. That URL died, but Adrian Hon kept a copy on his site. Lots of copies keep stuff safe, so after contemplating linkrot, I made a copy on this site too.

But I recently thought that maybe it deserved a bit of art direction, so I rolled up my sleeves and started messing around, designing in the browser and following happy little accidents.

The finished result is still fairly sparse. It’s still entirely text, except for a background image that shows up if your screen is wide enough. That image of a planet originally started as an infra-red snapshot of Jupiter by the James Webb Space Telescope that I worked over until it was unrecognisable.

The text itself is the main focus of the design though. I knew I wanted to play around with a variable font. Mona Sans from Github was one of the first ones I tried and I found it instantly suitable. I had a lot of fun playing with different weights and widths.

After a bit of messing around, I realised that the heading styles were reminding me of some later reissues of The Culture novels, so I leant into that, deliberately styling the byline to resemble the treatment of the author’s name on those book covers.

There isn’t all that much CSS. I’ve embedded it in the head of the HTML rather than linking to a separate style sheet, so feel free to view source and poke around in there. You’ll see that I’m making liberal use of custom properties, the clamp function, and logical properties.

Originally I had a light mode and dark mode but I found that the dark mode was much more effective so I ditched the lighter option.

I did make sure to include some judicious styles for print, so if you fancy reading on paper, it should print out nicely.

Oh, and of course it’s a progressive web app that works offline.

I didn’t want to mess with the original document other than making some typographic tweaks to punctuation, but I wanted to break up the single wall of text. I wasn’t about to start using pull quotes on the web so in the end I decided to introduce some headings that weren’t in the original document:

1. Government
2. Economics
3. Technology
4. Philosophy
5. Lifestyle
6. Travel
7. Habitat
8. Legal System
9. Politics
10. Identity
11. Nomenclature
12. Cosmology

If your browser viewport is tall enough, the heading for the current section you’re reading will remain sticky as you scroll. No JavaScript required.

I’m pretty pleased with how this little project turned out. It was certainly fun to experiment with fluid type and a nice variable font.

I can add this to my little collection of single-page websites I’ve whittled over the years:

• A Few Notes On The Culture
• The Gęsiówka Story
• Design Principles
• Brighton SF

A while back I wrote a blog post called Web Audio API weirdness on iOS. I described a bug in Mobile Safari along with a hacky fix. I finished by saying:

If you ever find yourself getting weird but inconsistent behaviour on iOS using the Web Audio API, this nasty little hack could help.

Recently Jonathan Aldrich posted a thread about the same bug. He included a link to my blog post. He also said:

Thanks so much for your post, this was a truly pernicious problem!

That warms the cockles of my heart. It’s very gratifying to know that documenting the bug (and the fix) helped someone out. Or, as I put it:

Yay for bugblogging!

Forgive the Germanic compound word, but in this case I think it fits.

Bugblogging doesn’t need to involve a solution. Just documenting a bug is a good thing to do. Recently I documented a bug with progressive web apps on iOS. Before that I documented a bug in Facebook Container for Firefox. When I documented some weird behaviour with the Web Share API in Safari on iOS, I wasn’t even sure it was a bug but Tess was pretty sure it was and filed a proper bug report.

I’ve benefited from other people bugblogging. Phil Nash wrote Service workers: beware Safari’s range request. That was exactly what I needed to solve a problem I’d been having. And then that post about Phil solving my problem helped Peter Rukavina solve a similar issue so he wrote Phil Nash and Jeremy Keith Save the Safari Video Playback Day.

Again, this warmed the cockles of my heart. Bugblogging is worth doing just for the reward of that feeling.

There’s a similar kind of blog post where, instead of writing about a bug, you write about a particular technique. In one way, this is the opposite of bugblogging because you’re writing about things working exactly as they should. But these posts have a similar feeling to bugblogging because they also result in a warm glow when someone finds them useful.

Here are some recent examples of these kinds of posts—tipblogging?—that I’ve found useful:

• Eric wrote about flexibly centering an element with side-sligned content using CSS.
• Rich documented how to subset a variable font on a Mac.
• Stephanie wrote about a CSS technique for animating in a newly added element.

All three are very handy tips. Thanks, Eric! Thanks, Rich! Thanks, Stephanie!

The three-part almost nine-hour long documentary Get Back is quite fascinating.

First of all, the fact that all this footage exists is remarkable. It’s as if Disney had announced that they’d found the footage for a film shot between Star Wars and The Empire Strikes Back.

Still, does this treasure trove really warrant the daunting length of this new Beatles documentary? As Terence puts it:

There are two problems with this Peter Jackson documentary. The first is that it is far too long - are casual fans really going to sit through 9 hours of a band bickering? The second problem is that it is far too short! Beatles obsessives (like me) could happily drink in a hundred hours of this stuff.

In some ways, watching Get Back is liking watching one of those Andy Warhol art projects where he just pointed a camera at someone for 24 hours. It’s simultaneously boring and yet oddly mesmerising.

What struck myself and Jessica watching Get Back was how much it was like our experience of playing with Salter Cane. I’m not saying Salter Cane are like The Beatles. I’m saying that The Beatles are like Salter Cane and every other band on the planet when it comes to how the sausage gets made. The same kind of highs. The same kind of lows. And above all, the same kind of tedium. Spending hours and hours in a practice room or a recording studio is simultaneously exciting and dull. This documentary captures that perfectly.

I suppose Peter Jackson could’ve made a three-part fly-on-the-wall documentary series about any band and I would’ve found it equally interesting. But this is The Beatles and that means there’s a whole mythology that comes along for the ride. So, yes, it’s like watching paint dry, but on the other hand, it’s paint painted by The Beatles.

What I liked about Get Back is that it demystified the band. The revelation for me was really understanding that this was just four lads from Liverpool making music together. And I know I shouldn’t be surprised by that—the Beatles themselves spent years insisting they were just four lads from Liverpool making music together, but, y’know …it’s The Beatles!

There’s a scene in the Danny Boyle film Yesterday where the main character plays Let It Be for the first time in a world where The Beatles have never existed. It’s one of the few funny parts of the film. It’s funny because to everyone else it’s just some new song but we, the audience, know that it’s not just some new song…

Christ, this is Let It Be! You’re the first people on Earth to hear this song! This is like watching Da Vinci paint the Mona Lisa right in front of your bloody eyes!

But truth is even more amusing than fiction. In the first episode of Get Back, we get to see when Paul starts noodling on the piano playing Let It Be for the first time. It’s a momentous occasion and the reaction from everyone around him is …complete indifference. People are chatting, discussing a set design that will never get built, and generally ignoring the nascent song being played. I laughed out loud.

There’s another moment when George brings in the song he wrote the night before, I Me Mine. He plays it while John and Yoko waltz around. It’s in 3/4 time and it’s minor key. I turned to Jessica and said “That’s the most Salter Cane sounding one.” Then, I swear at that moment, after George has stopped playing that song, he plays a brief little riff on the guitar that sounded exactly like a Salter Cane song we’re working on right now. Myself and Jessica turned to each other and said, “What was that‽”

Funnily enough, when we told this to Chris, the singer in Salter Cane, he mentioned how that was the scene that had stood out to him as well, but not for that riff (he hadn’t noticed the similarity). For him, it was about how George had brought just a scrap of a song. Chris realised it was the kind of scrap that he would come up with, but then discard, thinking there’s not enough there. So maybe there’s a lesson here about sharing those scraps.

Watching Get Back, I was trying to figure out if it was so fascinating to me and Jessica (and Chris) because we’re in a band. Would it resonate with other people?

The answer, it turns out, is yes, very much so. Everyone’s been sharing that clip of Paul coming up with the beginnings of the song Get Back. The general reaction is one of breathless wonder. But as Chris said, “How did you think songs happened?” His reaction was more like “yup, accurate.”

Inevitably, there are people mining the documentary for lessons in creativity, design, and leadership. There are already Medium think-pieces and newsletters analysing the processes on display. I guarantee you that there will be multiple conference talks at UX events over the next few years that will include footage from Get Back.

I understand how you could watch this documentary and take away the lesson that these were musical geniuses forging remarkable works of cultural importance. But that’s not what I took from it. I came away from it thinking they’re just a band who wrote and recorded some songs. Weirdly, that made me appreciate The Beatles even more. And it made me appreciate all the other bands and all the other songs out there.

It’s July, 2019. You know what that means? The 50th anniversary of the Apollo 11 mission is this month.

I’ve already got serious moon fever, and if you’d like to join me, I have some recommendations…

Watch the Apollo 11 documentary in a cinema. The 70mm footage is stunning, the sound design is immersive, the music is superb, and there’s some neat data visualisation too. Watching a preview screening in the Duke of York’s last week was pure joy from start to finish.

Listen to 13 Minutes To The Moon, the terrific ongoing BBC podcast by Kevin Fong. It’s got all my favourite titans of NASA: Michael Collins, Margaret Hamilton, and Charlie Duke, amongst others. And it’s got music by Hans Zimmer.

Experience the website Apollo 11 In Real Time on the biggest monitor you can. It’s absolutely wonderful! From July 16th, you can experience the mission timeshifted by exactly 50 years, but if you don’t want to wait, you can dive in right now. It genuinely feels like being in Mission Control!

After a fun and productive Indie Web Camp, I stuck around Düsseldorf for Beyond Tellerand. I love this event. I’ve spoken at it quite a few times, but this year it was nice to be there as an attendee. It’s simultaneously a chance to reconnect with old friends I haven’t seen in a while, and an opportunity to meet lovely new people. There was plenty of both this year.

I think this might have been the best Beyond Tellerrand yet, and that’s saying something. It’s not just that the talks were really good—there was also a wonderful atmosphere.

Marc somehow manages to curate a line-up that’s equal parts creativity and code; design and development. It shouldn’t work, but it does. I love the fact that he had a legend of the industry like David Carson on the same stage as first-time speaker like Dorobot …and the crowd loved ‘em equally!

During the event, I found out that I had a small part to play in the creation of the line-up…

Three years ago, I linked to a video of a talk by Mike Hill:

A terrific analysis of industrial design in film and games …featuring a scene-setting opening that delineates the difference between pleasure and happiness.

It’s a talk about chairs in Jodie Foster films. Seriously. It’s fantastic!

Marc saw my link, watched the video, and decided he wanted to get Mike Hill to speak at Beyond Tellerrand. After failing to get a response by email, Marc managed to corner Mike at an event in Amsterdam and get him on this year’s line-up.

Mike gave a talk called The Power of Metaphor and it’s absolutely brilliant. It covers the monomyth (the hero’s journey) and Jungian archetypes, illustrated with the examples Star Wars, The Dark Knight, and Jurassic Park:

Under the surface of their most celebrated films lies a hidden architecture that operates on an unconscious level; This talk is designed to illuminate the techniques that great storytellers use to engage a global audience on a deep and meaningful level through psychological metaphor.

The videos from Beyond Tellerrand are already online so you can watch the talk now.

Mike’s talk was back-to-back with a talk from Carolyn Stransky called Humanising Your Documentation:

In this talk, we’ll discuss how the language we use affects our users and the first steps towards writing accessible, approachable and use case-driven documentation.

While the talk was ostensibly about documentation, I found that it was packed full of good advice for writing well in general.

I had a thought. What if you mashed up these two talks? What if you wrote documentation through the lens of the hero’s journey?

Think about it. When somone arrives at your documentation, they’ve crossed the threshold to the underworld. They are in the cave, facing a dragon. You are their guide, their mentor, their Obi-Wan Kenobi. You can help them conquer their demons and return to the familiar world, changed by their journey.

Too much?

A little while back, I showed Paul what I was working on with The Gęsiówka Story. I value his opinion and I really like the Bradshaw’s Guide project that he’s been working on. We’re both in complete agreement with Russell Davies’ call for an internet of unmonetisable enthusiasms. Call them side projects if you like, but for me, these are the things that the World Wide Web excels at.

These unomentisable enthusiasms/side projects are what got me hooked on the web in the first place. Fray.com—back when it was a website for personal stories—was what really made the web click for me. I had seen brochure sites, I had seen e-commerce sites, but it was seeing something built purely for the love of it that caused that lightbulb moment for me.

I told Paul about another site I remembered from that time (we’re talking about the mid-to-late nineties here). It was called Private Art. It was the work of one family, the children of Private Art Pranger who served in World War Two and wrote letters from the front. Without any expectations, I did a quick search, and amazingly, the site is still up!

Yes, it’s got tiled background images, and the framesetted content is in a pop-up window, but it works. The site hasn’t been updated for fifteen years but it works perfectly in a web browser today. That’s kind of amazing. We really shouldn’t take the longevity of our materials for granted. Could you imagine trying to open a word processing document from the late nineties on your computer today? You’d have a bad time.

Working on The Gęsiówka Story helped to remind me of some of the things that made me fall in love with the web in the first place. What I wrote about it is equally true of Private Art:

When we talk about documents on the web, we usually use the word “document” as a noun. But working on The Gęsiówka Story, I came to think of the word “document” as a verb.

The World Wide Web is a medium that’s works for quick, short-term lightweight bits of fun and also for long-term, deeper, slower, thoughtful archives of our collective culture.

The web is a many-splendoured thing.

Amber and I often have meta conversations about the nature of learning and teaching. We swap books and share ideas and experiences whenever we’re trying to learn something or trying to teach something. A topic that comes up again and again is the idea of “the curse of knowledge“—it’s the focus of Steven Pinker’s book The Sense Of Style. That’s when the author/teacher can’t remember what it’s like not to know something, which makes for a frustrating reading/learning experience.

This is one of the reasons why I encourage people to blog about stuff as they’re learning it; not when they’ve internalised it. The perspective that comes with being in the moment of figuring something out is invaluable to others. I honestly think that most explanatory books shouldn’t be written by experts—the “curse of knowledge” can become almost insurmountable.

I often think about this when I’m reading through the installation instructions for frameworks, libraries, and other web technologies. I find myself put off by documentation that assumes I’ve got a certain level of pre-existing knowledge. But now instead of letting it get me down, I use it as an opportunity to try and bridge that gap.

The brilliant Safia Abdalla wrote a post a while back called How do I get started contributing to open source?. I definitely don’t have the programming chops to contribute much to a codebase, but I thoroughly agree with Safia’s observation:

If you’re interested in contributing to open source to improve your communication and empathy skills, you’re definitely making the right call. A lot of open source tools could definitely benefit from improvements in the documentation, accessibility, and evangelism departments.

What really jumps out at me is when instructions use words like “simply” or “just”. I’m with Brad:

“Just” makes me feel like an idiot. “Just” presumes I come from a specific background, studied certain courses in university, am fluent in certain technologies, and have read all the right books, articles, and resources. “Just” is a dangerous word.

But rather than letting that feeling overwhelm me, I now try to fix the text. Here are a few examples of changes I’ve suggested, usually via pull requests on Github repos:

• The instructions on the AMP validator page.
• The documentation for Tippy.js, a lightweight JavaScript library.
• The documentation for Composer, the PHP dependency manager.

They all have different codebases in different programming languages, but they’re all intended for humans, so having clear and kind documentation is a shared goal.

I like suggesting these kinds of changes. That initial feeling of frustration I get from reading the documentation gets turned into a warm fuzzy feeling from lending a helping hand.

In an excellent piece called The First Web Apps: 5 Apps That Shaped the Internet as We Know It, Matthew Guay wrote:

The world wide web wasn’t supposed to be this fun. Berners-Lee imagined the internet as a place to collaborate around text, somewhere to share research data and thesis papers.

In his somewhat confused talk at FFConf this year, James Kyle said:

The web was designed to share documents.

Douglas Crockford said

The web was not designed to do any of things it is doing. It was intended to be a simple—even primitive—document retrieval system.

Some rando on Hacker News declared:

Essentially every single aspect of the web is terrible. It was designed as a static document presentation system with hyperlinks.

It appears to be a universally accepted truth. The web was designed for sharing documents, and was never meant for the kind of applications we can build these days.

I don’t think that’s quite right. I think it’s fairer to say that the first use case for the web was document retrieval. And yes, that initial use case certainly influenced the first iteration of HTML. But right from the start, the vision for the web wasn’t constrained by what it was being asked to do at the time. (I mean, if you need an example of vision, Tim Berners-Lee called it the World Wide Web when it was just on one computer!)

The original people working on the web—Tim Berners-Lee, Robert Cailliau, Jean-Francois Groff, etc.—didn’t to try define the edges of what the web would be capable of. Quite the opposite. All of them really wanted a more interactive read-write web where documents could not only be read, but also edited and updated.

As for the idea of having a programming language in browsers (as well as a markup language), Tim Berners-Lee was all for it …as long as it could be truly ubiquitous.

To say that the web was made for sharing documents is like saying that the internet was made for email. It’s true in the sense that it was the most popular use case, but that never defined the limits of the system.

The secret sauce of the internet lies in its flexibility—it’s a deliberately dumb network that doesn’t care about the specifics of what runs on it. This lesson was then passed on to the web—another deliberately simple system designed to be agnostic to use cases.

It’s true that the web of today is very, very different to its initial incarnation. We got CSS; we got JavaScript; HTML has evolved; HTTP has evolved; URLs have …well, cool URIs don’t change, but you get the idea. The web is like the ship of Theseus—so much of it has been changed and added to over time. That doesn’t mean its initial design was flawed—just the opposite. It means that its initial design wasn’t unnecessarily rigid. The simplicity of the early web wasn’t a bug, it was a feature.

The web (like the internet upon which it runs) was designed to be flexible, and to adjust to future use-cases that couldn’t be predicted in advance. The best proof of this flexibility is the fact that we can and do now build rich interactive applications on the World Wide Web. If the web had truly been designed only for documents, that wouldn’t be possible.

A few years back, Craig took some lovely pictures of four generations of sushi chefs:

The story goes something like: Jiro trained Shiro who ran off to Seattle, started one of the first sushi joints in the city, and trained Taiichi, who now runs his own sushi shop. Jiro also trained his son, who works at Sukiyabashi Jiro and (one assumes) plans to take over the business once his octogenarian father retires (which, according to Jiro, is when he dies).

I love the additional photos that Craig took of each chef making their nigiri-te (the hand motion they use when forming nigiri).

The undisputed Jedi master of these sushi chefs is Jiro Ono. He’s the subject of the forthcoming documentary Jiro Dreams of Sushi.

I was nervous as hell before my talk at An Event Apart Seattle. I don’t normally get quite so nervous but it was a new talk and also …it’s An Event Apart! They set a very, very high bar.

Once I got on stage though, I just started geeking out. I was talking about design principles, a subject I find fascinating. I’m hoping that some of my enthusiasm for the subject helped make for a compelling presentation.

It was a whirlwind tour, starting with a long-zoom look at design principles in history before moving on to the web, where I took an up-close-and-personal look at CSS and quite a bit of HTML, before pulling back again to talk about our planet, our solar system and our galaxy. Yes, there was a space elevator.

I mentioned a range of people, organisations and projects that have documented their design principles, but rather than fill up the slides with lots of URLs, I gave just one URL at the start (and end) of the talk:

principles.adactio.com

That’s where I gathering today examples of documented design principles. By “documented” I mean “published on the web.” There are some really interesting principles from disciplines like urban design but as long as they are locked up in books that aren’t addressable on the network, I can’t link to them.

This is a fairly small-scale project so I figured a wiki might be overkill but if you know of any good documented design principles that should be added to the list, let me know

In preparing for my talk for the Bamboo Juice conference at the Eden Project in Cornwall next week, I find I’m doing a lot of WWILFing. After spending far too long reading about Stanford Tori and Bernal Spheres, and editing footage of a Von Braun-inspired orbital habitat, I got completely sidetracked into trying to figure out the storage capacity of the gold-plated record attached to Voyager 1.

I still haven’t found an answer—I’ve asked Voyager’s cousin for help—but I did stumble across a gem of a document from 1995. It’s by Simon Pockley and it’s called Lest We Forget or Why I chose the World Wide Web as a repository for archival material. Written in the infancy of the web, it makes for fascinating reading. It’s like a seedling of the semantic web. Some of the projections were way off but some of them were eerily prescient. Here’s my favourite passage:

Technological obsolescence is only a part of the problem in the preservation of digital information. The World Wide Web is a flexible carrier of digital material across both hardware and software. Its ability to disseminate this material globally, combined with its inherent flexibility, allow it to accommodate evolving standards of encoding and markup. Survival of significant material on-line is dependent on use and use is related to ease of access.

The document contains a number of hyperlinks to related material, all of which are collected into footnotes at the end. What’s heartbreaking is to discover how many of those links no longer resolve. Just a handful from the original list remain:

• Preserving Digital Objects: Recurrent Needs and Challenges by Michael Lesk
• From Digital Artefact to Digital Object by Ross Harvey
• Preservation Roles and Responsibilities of Collecting Institutions in the Digital Age by Maggie Jones
• Long-Term Management Issues in the Preservation of Electronic Information by Maggie Exon
• Culture and Cultural Memory: Challenges of an Electronic Era by Eric Wainwright

Four fifths of those links resolve to a single domain, that of the National Library of Australia. So much for our distributed repository of archival material.