This Saturday, April 12th, is Record Store Day. To mark the occasion, Salter Cane will be playing a stripped-down set at Union Music Store in Lewes. That’s the place that Jamie used to run, so it has a special place in our hearts.
Liza Lo will be playing at midday.
Salter Cane are on at 1pm.
If you’re in the neighbourbood, please swing by! We’re really looking forward to playing a mix of some old songs and some brand new songs from our brand new album.
There’s a new proposal for giving developers more control over styling form controls. I like it.
It’s clearly based on the fantastic work being done by the Open UI group on the select element. The proposal suggests that authors can opt-in to the new styling possibilities by declaring:
appearance: base;
So basically the developer is saying “I know what I’m doing—I’m taking the controls.” But browsers can continue to ship their default form styles. No existing content will break.
The idea is that once the developer has opted in, they can then style a number of pseudo-elements.
This proposal would apply to pretty much all the form controls you can think of: all the input types, along with select, progress, meter, buttons and more.
But there’s one element more that I wish were on the list:
legend
I know, technically it’s not a form control but legend and fieldset are only ever used within forms.
The legend element is notoriously annoying to style. So a lot of people just don’t bother using it, which is a real shame. It’s like we’re punishing people for doing the right thing.
Wouldn’t it be great if you, as a developer, had the option of saying “I know what I’m doing—I’m taking the controls”:
legend {
appearance: base;
}
Imagine if that nuked the browser’s weird default styles, effectively turning the element into a span or div as far as styling is concerned. Then you could style it however you wanted. But crucially, if browsers shipped this, no existing content would break.
The shitty styling situation for legend (and its parent fieldset) is one of those long-standing annoyances that seems to have fallen down the back of the sofa of browser vendors. No one’s going to spend time working on it when there are more important newer features to ship. That’s why I’d love to see it sneak in to this new proposal for styling form controls.
I was in Amsterdam last week. Just like last year I was there to help out Vasilis’s students with a form-based assignment:
They’re given a PDF inheritance-tax form and told to convert it for the web.
Yes, all the excitement of taxes combined with the thrilling world of web forms.
(Side note: this time they were told to style it using the design system from the Dutch railway because the tax office was getting worried that they were making phishing sites.)
I saw a lot of the same challenges again. I saw how students wished they could specify a past date or a future date in a date picker without using JavaScript. And I saw them lamenting the time they spent styling legends that worked across all browsers.
Right now, Mason Freed has an open issue on the new proposal with his suggestion to add some more elements to consider. Both legend and fieldset are included. That gets a thumbs-up from me.
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 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:
Present me is into all three.
It’s Bandcamp Friday today. I think I know what I’m going to get.
This was a day of big conversations, but also one of connection, curiosity, and optimism.
Seeing it all laid out like this really drives home just how much was packed into Research By The Sea.
Throughout the day, speakers shared personal reflections, bold ideas, and practical insights, touching on themes of community, resilience, ethics, and the evolving role of technology.
Some talks brought hard truths about the impact of AI, the complexity of organisational change, and the ethical dilemmas researchers face. Others offered hope and direction, reminding us of the power of community, the importance of accessibility, and the need to listen to nature, to each other, and to the wider world.
Check it out—here’s the line-up for UX London 2025!
This is going to be so good! Grab a ticket if you haven’t got one yet.
UX London takes place over three days, from June 10th to 12th at a fantastic venue in the heart of the city. To get the full experience, you should come for all three days. But you can also get a ticket for individual days. Each day has a focus, and when you put them all together, the whole event mirrors the design process:
Each day features a morning of talks, followed by an afternoon of workshops. The talks are on a single track; four consecutive half-hour presentations to get you inspired. Then after lunch, you choose from one of four workshops. All the workshops are two and half hours long and very hands-on. No laptop required.
On discovery day you’ll have talks in the morning about research, content design, strategy and evaluating technology, followed by workshops on discovery and definition and behavioural design.
On design day there’ll be talks on interface design, a healthcare case study, inclusive design, and typography, followed by workshops in the afternoon on data visualisation and ethics.
Finally on delivery day you’ll get talks on conversion design, cross-team collaboration, convincing stakeholders, and improving design critiques, followed by workshops on facilitating workshops and getting better at public speaking.
Every workshop is repeated on another day so you’ll definitely get the chance to attend the one you want.
Oh, and at the end of every day there’ll be a closing keynote. Those are yet to be revealed, but I can guarantee they’re going to be top-notch!
Right now you can get early-bird tickets for all three days, or individual days. That changes from March 15th, when the regular pricing kicks in—a three-day ticket will cost £200 more. So I’d advise you to get your ticket now.
If you need to convince your boss, show them this list of reasons to attend.
See you there!
This looks like a really interesting proposal for allowing developers more control over styling inputs. Based on the work being done the customisable select element, it starts with a declaration of appearance: base.
Research By The Sea was last Thursday. I’m still digesting it all.
In short, it was excellent. The venue, how smoothly every thing was organised, the talks …oh boy, the talks!
Benjamin did a truly superb job curating this line-up. Everyone really brought their A-game.
As predicted, this wasn’t a day of talks just for researchers. It was far more like a dConstruct. This was big, big picture stuff. Themes of hope, community, nature, technology, inclusion and resilience.
I overheard more than one person in the breaks saying “this was not what I was expecting!” They were saying it in a very positive way, though I wouldn’t be surprised if there were a silent minority in the audience who were miffed that they weren’t getting a day of practical research techniques devoid of politics.
As host, I had the easiest job of the day. All I had to do was say a few words of introduction for each speaker, then sit back down and enjoy every minute of every talk.
The one time when I had to really work was the panel discussion at the end of the day. I really enjoy moderating panels. I’ve seen enough bad panels to know what does and doesn’t work. But this one was tough. The panelists were all great, but because the themes were soooo big, I was worried about it all getting a bit too high-falutin’. People seemed to enjoy it though.
All in all, it was a superb day. If you came along, thank you!
Gotta be honest, #ResearchByTheSea is one of the best conferences I’ve been to in yeeeeeears. So many good, useful, inspiring, thoughtful, provocative talks. Much more about ethics and power and possibility than I’d expected.
Loved it. Thank you, @clearleft.com!
The tech bros advocating for generative AI to take over art are at the same level of cultural refinement as the characters in Severance. They’re creating apps to summarize books to people, tweeting from accounts with Greek statue profile pictures.
GenAI would automate Lumon’s cultural mission, allowing humans to sever themselves from the production of art and culture.
Research by the Sea was one of the best conferences I’ve been to in yeeeeeears. So many good, useful, inspiring, thoughtful, provocative talks. Much more about ethics and power and possibility than I’d expected. None of the ‘utopian bullshit’ you usually get at a product or digital conference, to quote one of the speakers!
Google Fonts only lets you download .ttf files meaning that if you want to self-host your fonts (and you should), you have to first convert them to .woff2 files.
Luckily this tool has been online for over a decade, doing what Google Fonts should be doing by default.
I see the personal website as being an antidote to the corporate, centralised web. Yeah, sure, it’s probably hosted on someone else’s computer – but it’s a piece of the web that belongs to you. If your host goes down, you can just move it somewhere else, because it’s just HTML.
Sure, it’s not going to fix democracy, or topple the online pillars of capitalism; but it’s making a political statement nonetheless. It says “I want to carve my own space on the web, away from the corporations”. I think this is a radical act. It was when I originally said this in 2022, and I mean it even more today.
Ah, this is wonderful! Matt takes us on the quarter-decade journey of his brilliant blog (which chimes a lot with my own experience—my journal turns 25 next year)…
Slowly, slowly, the web was taken over by platforms. Your feeling of success is based on your platform’s algorithm, which may not have your interests at heart. Feeding your words to a platform is a vote for its values, whether you like it or not. And they roach-motel you by owning your audience, making you feel that it’s a good trade because you get “discovery.” (Though I know that chasing popularity is a fool’s dream.)
Writing a blog on your own site is a way to escape all of that. Plus your words build up over time. That’s unique. Nobody else values your words like you do.
Blogs are a backwater (the web itself is a backwater) but keeping one is a statement of how being online can work. Blogging as a kind of Amish performance of a better life.
Some good—if overlong—writing advice.
- Focus on what matters to readers
- Be welcoming to everyone
- Swap formal words for normal ones
- When we have to say sorry, say it sincerely
- Watch out for jargon
- Avoid ambiguity: write in the active voice
- Use vivid words & delightful wordplay
- Make references most people would understand
- Avoid empty adjectives & marketing cliches
- Make people feel they’re in on the joke – don’t punch down
- Add a pinch of humour, not a dollop
- Smart asides, not cheap puns and cliches
- Be self-assured, but never arrogant
I Feel Like I’m Going Insane
Everywhere you look, the media is telling you that OpenAI and their ilk are the future, that they’re building “advanced artificial intelligence” that can take “human-like actions,” but when you look at any of this shit for more than two seconds it’s abundantly clear that it absolutely isn’t and absolutely can’t.
Despite the hype, the marketing, the tens of thousands of media articles, the trillions of dollars in market capitalization, none of this feels real, or at least real enough to sustain this miserable, specious bubble.
We are in the midst of a group delusion — a consequence of an economy ruled by people that do not participate in labor of any kind outside of sending and receiving emails and going to lunches that last several hours — where the people with the money do not understand or care about human beings.
Their narrative is built on a mixture of hysteria, hype, and deeply cynical hope in the hearts of men that dream of automating away jobs that they would never, ever do themselves.
Generative AI is a financial, ecological and social time bomb, and I believe that it’s fundamentally damaging the relationship between the tech industry and society, while also shining a glaring, blinding light on the disconnection between the powerful and regular people. The fact that Sam Altman can ship such mediocre software and get more coverage and attention than every meaningful scientific breakthrough of the last five years combined is a sign that our society is sick, our media is broken, and that the tech industry thinks we’re all fucking morons.
Now, more than ever, it’s critical to own your data. Really own it. Like, on your hard drive and hosted on your website.
Is taking control of your content less convenient? Yeah–of course. That’s how we got in this mess to begin with. It can be a downright pain in the ass. But it’s your pain in the ass. And that’s the point.
From 2005 to 2015 Clearleft ran the dConstruct event here in Brighton (with one final anniversary event in 2022).
I had the great pleasure of curating dConstruct for a while. I’m really proud of the line-ups I put together.
It wasn’t your typical tech event, to put it mildy. You definitely weren’t going to learn practical techniques to bring back into work on Monday morning. If anything, it was the kind of event that might convince you to quit your job on Monday morning.
The talks were design-informed, but with oodles of philosophy, culture and politics.
As you can imagine, that’s not an easy sell. Hence why we stopped running the event. It’s pretty hard to convince your boss to send you to a conference like that.
Sometimes I really miss it though. With everything going on in the tech world right now (and the world in general), it sure would be nice to get together in a room full of like-minded people to discuss the current situation.
Well, here’s the funny thing. There’s a different Clearleft event happening next week. Research By The Sea. On the face of it, this doesn’t sound much like dConstruct. But damn if Benjamin hasn’t curated a line-up of talks that sound very dConstructy!
Those all sound like they’d fit perfectly in the dConstruct archive.
Research By The Sea is most definitely not just for UX researchers—this sounds to me like the event to attend if, like me, you’re alarmed by everything happening right now.
Next Thursday, February 27th, this is the place to be if you’ve been missing dConstruct. See you there!
I’m not a fan of Nicholas Carr and his moral panics, but this is an excellent dive into some historical media theory.
What Innis saw is that some media are particularly good at transporting information across space, while others are particularly good at transporting it through time. Some are space-biased while others are time-biased. Each medium’s temporal or spatial emphasis stems from its material qualities. Time-biased media tend to be heavy and durable. They last a long time, but they are not easy to move around. Think of a gravestone carved out of granite or marble. Its message can remain legible for centuries, but only those who visit the cemetery are able to read it. Space-biased media tend to be lightweight and portable. They’re easy to carry, but they decay or degrade quickly. Think of a newspaper printed on cheap, thin stock. It can be distributed in the morning to a large, widely dispersed readership, but by evening it’s in the trash.
We wonder often if what is created by AI has any value, and at what cost to artists and creators. These are important considerations. But we need to also wonder what AI is taking from what has already been created.