1,865 Matching Annotations
  1. Apr 2022
    1. I was already aware that images cannot be inserted in the DOM like you would any normal image. If you write <img src="https://my-pod.com/recipes/ramen.jpg">, this will probably fail to render the image. That happens because the image will be private, and the POD can't return its contents without proper authentication.
    1. Some passages practically scream to be put into the Zettelkasten so I’ll indulge them. Sometimes I’ll have dozens of things I wrote on cards without identifiers or places in the Zettelkasten yet, and I’ll spend 30–60 minutes putting them in and finding places for them. In case I haven’t said it enough, this regular review process is the most important key to making all of this work.

      The linking of one zettel to another can be a lot of work, but it is also the thing which improves the creativity and serendipity of the enterprise.

    1. This book was written to help educators and instructional designers to design visually appealing courses (and curricular materials) that are also digitally accessible. I argue that applying graphic design principles reduces barriers, lowers cognitive load, and improves learning. I created the Graphic Design E-Learning Checklist to help instructional designers improve the look and feel of their courses while designing for inclusivity at the forefront
    1. These callbacks are focused on the transactions, instead of specific model actions.

      At least I think this is talking about this as limitation/problem.

      The limitation/problem being that it's not good/useful for performing after-transaction code only for specific actions.

      But the next sentence "This is beneficial..." seems contradictory, so I'm a bit confused/unclear of what the intention is...

      Looking at this project more, it doesn't appear to solve the "after-transaction code only for specific actions" problem like I initially thought it did (and like https://github.com/grosser/ar_after_transaction does), so I believe I was mistaken. Still not sure what is meant by "instead of specific model actions". Are they claiming that "before_commit_on_create" for example is a "specific model action"? (hardly!) That seems almost identical to the (not specific enough) callbacks provided natively by Rails. Oh yeah, I guess they do point out that Rails 3 adds this functionality, so this gem is only needed for Rails 2.

    1. a complex problem should not ~be regarded immediately in terms of computer instruc- tions, bits, and "logical words," but rather in terms and entities natural to the problem itself, abstracted in some suitable sense

      Likewise, a program being written (especially one being written anew instead of by adapting an existing one) should be written in terms of capabilities from the underlying system that make sense for the needs of the greater program, and not by programming directly against the platform APIs. In the former case, you end up with a readable program (that is also often portable), whereas in the latter case, what you end up writing amounts to a bunch of glue between existing system component that may not work together in any comprehensible way to half the audience who is not already intimately familiar with the platform in question, but no less capable of making meaningful contributions.

    1. If a creative artefact is the basis of the contribution to knowledge, the research ispractice-based.2. If the research leads primarily to new understandings about practice, it is practice-led.

      Difference between practice-based and practice-led research (Specific to design research).

      Practice- based: based on practice and improving knowledge of practice Practice- Led - leads to new understandings about the practice we are engaged in

    1. Another fourteenth- century manuscript of Hautfuney’s index to Vincent of Beauvais’s Speculum historiale. The absence of rubrication and the narrower columns make the entries harder to identify although the two indexes contain the same information.
    1. In Rails, this is known as nested layouts, and it is a bit awkward to use. The standard Rails practice for nested layouts is complicated and involves these considerations:
  2. Mar 2022
    1. Drum or bag – a mechanism that requires replacement of the drum or bag that collects the matter.
    2. The air to cloth ratio is the amount of air that passes through a square foot of the filter. The lower the ratio, the higher quality of the filtration system's efficiency.
    3. Though a fan or blower may have a simple design, when installed in a dust collection system, several factors have to be considered. First of those factors is the volume of air that needs to be moved. This is measured in cubic feet per minute (CFM). The next consideration is the static pressure throughout the whole system. Other variables are the temperature, substances in the air, and the level of moisture.
    1. The companies or businesses, therefore, need to provide exclusive and personalized services to their clients to survive. Digitizing business through a robust mobile application is the need of the hour. 
    1. In 1994, The Unix-Haters Handbook was published containing a long list of missives about the software—everything from overly-cryptic command names that were optimized for Teletype machines, to irreversible file deletion, to unintuitive programs with far too many options. Over twenty years later, an overwhelming majority of these complaints are still valid even across the dozens of modern derivatives. Unix had become so widely used that changing its behavior would have challenging implications. For better
    1. Object hierarchies are very different from relational hierarchies. Relational hierarchies focus on data and its relationships, whereas objects manage not only data, but also their identity and the behavior centered around that data.
    1. the tragedy of the commons is a multiplayer prisoner's dilemma. And she said that people are only prisoners if they consider themselves to be. They escape by creating institutions for collective action. And she discovered, I think most interestingly, that among those institutions that worked, there were a number of common design 00:12:04 principles, and those principles seem to be missing from those institutions that don't work.

      collaborative institutions relying on common design principles are seen helping to avoid the tragedy of commons

    1. capacity building

      Built With Bits

      In 2021, our eight-week mentoring programme helped educators and teachers to achieve this by combining collaborative learning experiences and digital technologies with the values of accessibility, inclusivity and sustainability that are at the heart of the European Commission’s New European Bauhaus movement.

      The programme explored how virtual experiences can be used within education and is designed for teachers and educators working with students in secondary education in Greece, Italy, Spain and Portugal.

      Shared during Open Education Week 2022 https://oeweek.oeglobal.org/resources/2022/built-with-bits/

    1. Grids like these are user-hostile—a clear choice to prioritize aesthetics over experience. In order to see what any given app does, I have to either:

      1. Figure it out by the name alone
      2. Click each one to fetch the relevant info (and wait for it to load)
      3. Mouse over each item to read the title text
    1. Understanding a strange codebase is hard.

      John Nagle is fond of making the observation that there are three fundamental and recurring questions that dominate one's concerns when programming in C.

      More broadly (speaking of software development generally), one of the two big frustrations I have when dealing with a foreign codebase is the simple question, "Where the hell does this type/function come from?" (esp. in C and, unfortunately, in Go, too, since the team didn't take the opportunity to fix it there when they could have...). There's something to be said for Intellisense-like smarts in IDEs, but I think the criticism of IDEs is justified. I shouldn't need an IDE just to be able to make sense of what I'm reading.

      The other big frustration I often have is "Where does the program really start?" Gilad Bracha seems to really get this, from what I've understood of his descriptions about how module definitions work in Newspeak. Even though it's reviled, I think Java was really shrewd about its decisions here (and on the previous problem, too, for that matter—don't know exactly where FooBar comes from? welp, at least you can be reasonably sure that it's in a file called FooBar.java somewhere, so you can do a simple (and cheap) search across file names instead of a (slow, more expensive) full-text search). Except for static initializers, Java classes are just definitions. You don't get to have live code in the top-level scope the way you can with JS or Python or Go. As cumbersome as Java's design decision might feel like it's getting in your way when you're working on your own projects and no matter how much you hate it for making you pay the boilerplate tax, when it comes to diving in to a foreign codebase, it's great when modules are "inert". They don't get to do anything, save for changing the visibility of some symbol (e.g. the FooBar of FooBar.java). If you want to know how a program works, then you can trace the whole thing, in theory, starting from main. That's really convenient when it means you don't have to think about how something might be dependent on a loop in an arbitrary file that immediately executes on import, or any other top-level diddling (i.e. critical functionality obscured by some esoteric global mutable state).

  3. Feb 2022
    1. There are two pairs of methods for sending/receiving messages: Object#send and ::receive for when the sender knows the receiver (push); Ractor.yield and Ractor#take for when the receiver knows the sender (pull);
    1. Working with the slip-box, therefore, doesn’t mean storinginformation in there instead of in your head, i.e. not learning. On thecontrary, it facilitates real, long-term learning

      The forms of thinking, writing, and elaboration that go into creating permanent notes for a slip box are natural means of facilitating actual, long-term learning.

    2. The slip-box provides not only a clear structure to work in, but also forces usto shift our attention consciously as we can complete tasks inreasonable time before moving on to the next one.

      Ahrens provides a quick overview of some research on distraction, attention, and multi-tasking to make the point that:

      The simple structure and design of the zettelkasten forces one's focus and attention on small individual tasks that cumulatively build into better thinking and writing.

      (Summary of Section 9.2)

    3. Only after aligning every single part of the delivery chain, frompackaging to delivery, from the design of the ships to the design ofthe harbours, was the full potential of the container unleashed.

      Streamlining one's entire workflow from start to finish can unleash tremendous amounts of additional system-wide productivity. Starting out by tinkering with small things here and there is more likely to doom these smaller individual changes to failure with out associated global changes.

      Once the overall system has been redesigned and reconfigured, then one can make and perfect smaller scale local changes.


      Link this to the idea of kelp and sailing/rowing from The West Wing.

    4. A good structure is something you can trust. It relieves you fromthe burden of remembering and keeping track of everything. If youcan trust the system, you can let go of the attempt to hold everythingtogether in your head and you can start focusing on what isimportant:

      Whether it's for writing, to do lists, or other productivity spaces, a well designed system is something that one can put their absolute trust into. This allows one to free themselves from the burden of tracking and dealing with minutiae so they can get serious work done.

    1. A very visible aspect of the object-relational mismatch is the fact that relational databases don't support inheritance. You want database structures that map clearly to the objects and allow links anywhere in the inheritance structure. Class Table Inheritance supports this by using one database table per class in the inheritance structure.
    1. website redesign is now a synonym for bare-knuckle boxing
    2. https://dancohen.org/2019/07/23/engagement-is-the-enemy-of-serendipity/

      Dan Cohen talks about a design change in the New York Times app that actively discourages exploration and discovery by serendipity.

      This is similar to pulling out digital copies of books you're looking for instead of going to the library, tracking down the book on the shelf and in the process seeing and experiencing the books on the shelf which are nearby, or even the book that catches your eye across the aisle, wasn't in your sphere of search or interest, but you pick it up anyway.

      How can we bring this sort of design back to digital experiences?

      It's not just the algorithmic feeds which are narrowing our interests and exposure, but the design of our digital spaces as well.

    1. What criteria do we pay attention to when we want to order some service? Certainly, the cost is important. When it comes to website development, the final cost depends on many factors. The first and one of the most important factors is what kind of website you want to create. In this article, we will try to help you understand how much it costs to build a website, and estimate the approximate cost of your website’s creation.
    1. Deepti Gurdasani. (2022, January 30). Have tried to now visually illustrate an earlier thread I wrote about why prevalence estimates based on comparisons of “any symptom” between infected cases, and matched controls will yield underestimates for long COVID. I’ve done a toy example below here, to show this 🧵 [Tweet]. @dgurdasani1. https://twitter.com/dgurdasani1/status/1487578265187405828

  4. Jan 2022
    1. there’s not much reason to think it’s because kids have different learning styles. Maybe it’s always good for kids to experience any idea in several different ways, even if all the experiences were in the same style. Maybe one of the experiences is especially well-suited to help kids understand the concept. Maybe the repetition is good. If it's a good idea to teach to all styles, great, but I'd like to figure out why kids are learning more that way, given that other predictions of styles theories aren't supported.

      This description of "teach[ing] to all the [learning] styles" seems similar to some descriptions of Universal Design for Learning that I have seen.

    1. Here comes 2022, and as usual, we have prepared for you the list of the top UI/UX design trends to follow. Design in the coming year is about taking care of users, their uniqueness, and avoiding the “perfect picture”. Therefore, real-life photos, live artistic illustrations, and asymmetry are gaining more popularity. And by the way, did you know that according to Pantone, the color of 2022 is violet (Very Peri)? Let’s now explore the leading UI/UX design trends of 2022 in detail and see how popular brands successfully implement them.
    1. Depuis longtemps, je suis d’avis que la rigueur d’un cours ne se mesure pas à la quantité de connaissances dont l’enseignant fait étalage, mais aux apprentissages que les étudiants font.

      Which can lead to an assessment of pedagogical efficacy. It's funny, to me, that those who complain about "grade inflation" (typically admins) rarely entertain the notion that grades could be higher than usual if the course went well. The situation is quite different in "L&D" (Learning and Development, typically for training and professional development in an organizational context). "Oh, great! We were able to get everyone to reach the standard for this competency! Must mean that we've done something right in our Instructional Design!"

    1. +----------------------- | RESOURCE EXISTS ? (if private it is often checked AFTER auth check) +----------------------- | | NO | v YES v +----------------------- 404 | IS LOGGED-IN ? (authenticated, aka user session) or +----------------------- 401 | | 403 NO | | YES 3xx v v 401 +----------------------- (404 no reveal) | CAN ACCESS RESOURCE ? (permission, authorized, ...) or +----------------------- redirect | | to login NO | | YES | | v v 403 OK 200, redirect, ... (or 404: no reveal) (or 404: resource does not exist if private) (or 3xx: redirection)
    1. software design on the scale of decades: every detail is intended to promote software longevity and independent evolution. Many of the constraints are directly opposed to short-term efficiency. Unfortunately, people are fairly good at short-term design, and usually awful at long-term design
    1. The internet is for end users: any change made to the web platform has the potential to affect vast numbers of people, and may have a profound impact on any person’s life. [RFC8890]
    1. The spider web system was, in fact, a work in progress; the resulting hypertext was designed to be open-ended.

      One's lifetime of notes could be thought of as a hypertext work in progress that is designed to be open-ended.

    1. Google’s Material Design dark theme recommends using dark gray (#121212) as a dark theme surface color “to express elevation and space in an environment with a wider range of depth.” In addition, many designers recommend adding a subtle dark blue tint to dark grays when defining the color scheme. It tends to create a better dark tone for digital screens and a more pleasing dark UI color palette.

      Recommandations for dark UI theme from Google.

    1. As John Palmer points out in his brilliant posts on Spatial Interfaces and Spatial Software, “Humans are spatial creatures [who] experience most of life in relation to space”.

      This truism is certainly much older than John Palmer, but an interesting quote none-the-less.

      It could be useful to meditate on the ideas of "spatial interfaces" and "spatial software" as useful affordances within the application and design spaces.

    1. What does a Functional Design have to offer? https://en.itpedia.nl/2019/01/16/wat-heeft-een-functioneel-ontwerp-te-bieden/ A functional design is a specification of the functions of the software that the end_users have agreed to. Many companies have a software_developer handbook that describes what topics a functional design should cover. This article looks at the steps of functional design in the context of software development.

  5. Dec 2021
    1. An absolutely beautiful design for short notes.

      This is the sort of theme that will appeal to zettelkasten users who are building digital gardens. A bit of the old mixed in with the new.

      <small><cite class='h-cite via'> <span class='p-author h-card'>Pete Moor </span> in // pimoore.ca (<time class='dt-published'>12/24/2021 18:02:15</time>)</cite></small>

    1. Adding flexibility to our contrast checker function

      Brian’s function only accepts six-character hexcolors, and they cannot have a leading hash (#).

      Let’s first modify it to accept a leading hash. We’ll use Array.slice() to get the first character and check if it equals #. If it does, we’ll use Array.slice() again to remove the leading hash and redefine hexcolor.

      Next, let’s modify the function to allow both three and six-character colors.

      To do that, we’ll first check the length of hexcolor. If it’s 3, we’ll use Array.split() to convert the hexcolor string into an array of characters. Then, we’ll use Array.map() to double each character, and Array.join() to combine it back into a string.

      /*!
       * Get the contrasting color for any hex color
       * (c) 2019 Chris Ferdinandi, MIT License, https://gomakethings.com
       * Derived from work by Brian Suda, https://24ways.org/2010/calculating-color-contrast/
       * @param  {String} A hexcolor value
       * @return {String} The contrasting color (black or white)
       */
      var getContrast = function (hexcolor){
      
          // If a leading # is provided, remove it
          if (hexcolor.slice(0, 1) === '#') {
              hexcolor = hexcolor.slice(1);
          }
      
          // If a three-character hexcode, make six-character
          if (hexcolor.length === 3) {
              hexcolor = hexcolor.split('').map(function (hex) {
                  return hex + hex;
              }).join('');
          }
      
          // Convert to RGB value
          var r = parseInt(hexcolor.substr(0,2),16);
          var g = parseInt(hexcolor.substr(2,2),16);
          var b = parseInt(hexcolor.substr(4,2),16);
      
          // Get YIQ ratio
          var yiq = ((r * 299) + (g * 587) + (b * 114)) / 1000;
      
          // Check contrast
          return (yiq >= 128) ? 'black' : 'white';
      
      };
      

      Here’s a demo on CodePen

    1. The second equation is called ‘YIQ’ because it converts the RGB color space into YIQ, which takes into account the different impacts of its constituent parts. Again, the equation returns white or black and it’s also very easy to implement.

      In JavaScript:

      function getContrastYIQ(hexcolor){
          var r = parseInt(hexcolor.substr(0,2),16);
          var g = parseInt(hexcolor.substr(2,2),16);
          var b = parseInt(hexcolor.substr(4,2),16);
          var yiq = ((r*299)+(g*587)+(b*114))/1000;
          return (yiq >= 128) ? 'black' : 'white';
      }
      

      You’ll notice first that we have broken down the hex value into separate RGB values. This is important because each of these channels is scaled in accordance to its visual impact. Once everything is scaled and normalized, it will be in a range between zero and 255. Much like the previous ’50%’ function, we now need to check if the input is above or below halfway. Depending on where that value is, we’ll return the corresponding highest contrasting color.

    2. There are two functions I want to compare.

      The first, I call ’50%’. It takes the hex value and compares it to the value halfway between pure black and pure white. If the hex value is less than half, meaning it is on the darker side of the spectrum, it returns white as the text color. If the result is greater than half, it’s on the lighter side of the spectrum and returns black as the text value.

      In JavaScript:

      function getContrast50(hexcolor){
          return (parseInt(hexcolor, 16) > 0xffffff/2) ? 'black':'white';
      }
      

      It doesn’t get much simpler than that! The function converts the six-character hex color into an integer and compares that to one half the integer value of pure white. The function is easy to remember, but is naive when it comes to understanding how we perceive parts of the spectrum. Different wavelengths have greater or lesser impact on the contrast.

    1. Logos are essentially abstract illustrations, but clearly not all illustrations make for good logos. In order to create logos systematically we need some notion of what makes a logo good in a visual sense

      Good logos are legible (easy to identify) //and// unique (distinctive).

    1. it is best to limit the number and scope of branches in your repository. Most implementations suggest that developers commit directly to the main branch or merge changes from their local branches in at least once a day.

      Actually this is the "agile" motto - release early, so no long feature-branches.

    2. discovering failures as early as possible is important to minimize the resources devoted to problematic builds. To achieve this, prioritize and run your fastest tests first. Save complex, long-running tests until after you’ve validated the build with smaller, quick-running tests.

      Build articulated jobs to identify early low-hanging spoiled fruits.

    3. When making these significant decisions, make sure you understand and document the trade-offs you are making.

      Leave a coherent trail about the decisions behind the CI machinery.

    1. So while running “all tests” in all builds would be ideal, reality dictates that we prioritize testing and run certain types of tests in certain stages of the dev/test cycle. There are a few ways to achieve prioritized testing:Having one automated build process that runs only the basic set of tests, and trigger additional tests manually.Having several build configurations: one for a basic set of tests, one including some more tests, up to the full production build which includes all tests. These sets of tests create numerous builds that are using almost the same artifacts, creating duplication and room for error. Not to mention maintenance-hell. Also, this approach limits flexibility to some extent. For example, what if a developer wants to execute a specific automated UI test to see if a change broke the interface? That will have to wait for later in the dev/test cycle.

      Describe the need for flexibility to select one out of multiple build/test configurations.

      Not really providing practical advises.

    1. 10 Cultivating Change for Inclusive Practice: Creating a Community of Learners By Lisa Mauro-Bracken, Head of Department Health and Well-being; School of Allied Health and Community This case study illustrates an innovative, department-wide approach to learning and professional development of staff. Higher Education encounters increasing numbers of students from diverse linguistic, cultural and ethnic backgrounds requiring personalised learning (V1; V2). To cultivate a ‘new’ inclusive culture within the Department of Health and Well-being, I organised a workshop introducing Universal Design for Learning (UDL) as part of a team away day (K5). UDL is a framework to improve and optimize teaching and learning for all people based on scientific insights into how humans learn (CAST, 2019). The UDL framework supports inclusive practice and relies on multiple means of: ‘engagement,’ ‘representation’ and ‘action and expression.’ In other words, a focus on personalised learning and meaningful choice to ensure all students can access the curriculum in a way that develops their strengths. To embed this approach within the department, I delivered workshops on implementing University of Worcester’s Inclusive Assessment Policy. This was implemented using Technology Enhanced Learning and Blackboard in an inclusive way and auditing module resources using de Montfort University’s UDL self-assessment checklist. This proved to be an effective reflective tool to further inform learning, teaching and assessment (Bracken, 2019; Moriarty and Scarffe, 2019). The values underpinning our department are student-focused and this was reflected in our approach of implementing new ideas, as it required staff and student involvement and regular consultation with students about inclusive design for learning. Staff enthusiasm for the innovative approach was balanced against accepting a response of hesitancy and fear of change (Dasborough, Lamb and Suseno, 2015). However, one colleague stated ‘UDL allows me... [to] reflect, listen, change my pedagogical approach...getting input from colleagues and feel safe[ty] in questioning

      Current practice in UK on UDL- updated references and useful publication linked to HEA accreditation

    1. This loop showcases a UI pattern that I think could be improved. There is an "edit" button visible, which opens the sidebar. The principles should more closely resemble the Hypothesis sidebar. Instead of requiring an explicit edit button which the user clicks, the editor should operate on object selections. Merely clicking any of the displayed values should select it, which should provide a handle to the underlying object, which should reveal the editor sidebar (with, ideally, the relevant field focused).

  6. Nov 2021
    1. My UIs are data/store driven. The UI is just a way to visualize the data. Your data could flow through all of of the extensions and the extensions can make decisions (e.g. setting visible to false). Like middlewares in a Connect/Express/Polka app. And the UI doesn't even know about all this, it just updates with the current state and makes sure it's consistent.
    1. whose lifelong work integrates the core insights of the great wisdom traditions and mysticism with the discoveries of science.
  7. wallet.kukai.app wallet.kukai.app
    1. Niki Selken, Gray Area, shared Kukai with the Design Science Studio today as an easy way to get some crypto, using a single sign on with Google.

    1. Readability, however, is emphasized above all else. A Markdown-formatted document should be publishable as-is, as plain text, without looking like it’s been marked up with tags or formatting instructions.

      Most Markdown that gets published to GitHub is clearly written by people who have no problem grinding their muddy shoes all over this design principle.

      (Vanilla Markdown's syntax for inline links doesn't do a particularly good job upholding this principle itself.)

  8. Oct 2021
    1. Unfortunately, if the location to which you wish to move the text is off-screen, you may have to use some other mechanism to find the target location
    1. Design can fill a “soft fluid space” between functions, services, teams, people, for organisational regeneration & agility — and reframing the organisation as an intentful human system and giving it space to breathe and reflect.

      .design

    2. Design can bring critical (re)thinking of what an organisation do, it can bring diversity and innovation in thinking & doing, it can bring create spaces for the emergence of unexpected ideas, and it can bring a new sense of agency, ownership, and responsibility to the people of the organisation.

      .design

    1. Letting your member co-design with you on community products will strenghten this 3 level of relationships between your members : meet & connect level making things together level tell a story level

      .community design

    1. This is the real value of this approach: transforming an audience that by definition is passive or that has a minimum degree of interaction, into a group of active people who dynamically collaborate in the construction of a solution, of a benefit, of an asset.

      .community design

    2. The differences with a traditional service are precisely the metrics which, in addition to being quantitative, must be qualitative and must measure all three areas listed above: the system of identity, the engagement and the co-management of the community.

      .community design

    3. community design analyses and designs the interactions of the individual with the proposing organization, but also those of the individual as a member of a group, where he interacts with his peers and with the organization itself, and where he takes on an active role both in the design of the solution (co-planning) and in the organization (co-management).

      .community design

    4. Community design, unlike user-centred design, no longer focuses on the needs of people as individuals, but as members of a group (community), who recognize themselves around a value proposition.

      .community design

    5. designing a community certainly includes a part of immersion in the community itself, but first of all it includes the design of the context within which the members gather, move and grow.

      .community design

    1. The applied arts are all the arts that apply design and decoration to everyday and essentially practical objects in order to make them aesthetically pleasing.[1] The term is used in distinction to the fine arts, which are those that produce objects with no practical use, whose only purpose is to be beautiful or stimulate the intellect in some way. In practice, the two often overlap. Applied arts largely overlaps with decorative arts, and the modern making of applied art is usually called design.
    1. “Hurry up and do it before someone else does!” she told him. And so he did.

      At least he did it quickly as possible because it's a known fact that people can have similar ideas as you.

      article

    1. ephemera

      Definition of ephemera 1: something of no lasting significance —usually used in plural

      2 ephemera plural : paper items (such as posters, broadsides, and tickets) that were originally meant to be discarded after use but have since become collectibles

      merriam webster

    2. A handful of African-American designers seemed exempt from Modernism’s influence, which may be because they didn’t work in advertising or commerce.

      This is not surprising at all. Funny thing is just as he mentioned that...it made me realize there's barely any black designers being known, especially around that time.

    1. ❯  Created in-house by expert educators.❯  100% original course materials.❯  Free for everyone, forever.
    1. Andrew Wilshere

      Andrew Wilshere was working on content at Designlab when he asked me to write an article about the Bauhaus.

      I ended up writing something that never got published with Designlab. Instead, it was shared by the Bauhaus Movement to their Facebook followers.

    1. The spiritual vision of the Bauhaus was a faith in people’s ability to transform society for good by breaking down divisions and working together toward a common purpose.

      Originally published on Medium on August 29, 2019.

    1. Lean Canvas

      For the builders collective, I created some tools that are open source and useful for design and social architecture. Other projects are coding challenges to experiment with what is possible on the web.

      This experiment is based on the Lean Canvas, based on the Business Model Canvas from the book Business Model Generation.

      Type in the grey box at the top of the page. Click or tap in the boxes to add the text as a box in each section of the Lean Canvas. Click on the box to delete.

      There is no save functionality, so be sure to take a screenshot. Or roll your own by using the code on Codepen and GitHub.

    1. This love for the ocean grew over the years, so much so that when she saw photographs by Canadian artist Benjamin Von Wong – showing a mermaid swimming in an ocean of plastic bottles – it impacted her deeply.
    1. Design for Resilience is not a podcast just for professional designers. This a podcast for human beings, who may have forgotten that they are creative. We build our personal resilience by first remembering that we are all designers.

      I just published my first podcast episode.

  9. builderscollective.com builderscollective.com
    1. A podcast about resilience inspired Caleb Chan to compose this theme music, incorporating a heartbeat and a world music influence.

      Design for Resilience

      Exploring how we imagine, design, and build the future together.

    1. Victor Papanek’s Design Problem, 1975.

      The Design Problem

      Three diagrams will explain the lack of social engagement in design. If (in Figure 1) we equate the triangle with a design problem, we readily see that industry and its designers are concerned only with the tiny top portion, without addressing themselves to real needs.

      Figure 1: The Design Problem

      (Design for the Real World, 2019. Page 57.)

      The other two figures merely change the caption for the figure.

      • Figure 1: The Design Problem
      • Figure 2: A Country
      • Figure 3: The World
    1. Where philosophy meets tech.

      Design Philosophy

      This seems to be the space that I occupy on the edges of design education and practice.

      Maria Selting of Unbox Your World podcast has just shared the raw audio of our conversation to get feedback before she publishes the episode, Redesigning Design: Applying UX Principles to Design a Better Future.

    1. Material is a design system – backed by open-source code – that helps teams build high-quality digital experiences.
    1. Jamstack

      The legacy version of the Run for Water site designed by Stephen Bau. Featured on Behance.

      This version is built with Jamstack, using Harp and DatoCMS.

      A similar approach could be used for the Co-Operating Manual for Spaceship Earth.

      A Modest Proposal

      Since the Buckminster Fuller Institute is using Airtable, it would be possible to follow the CSS-Tricks article on Going Jamstack with React, Serverless, and Airtable.

    1. We did most of the heavy lifting for you to provide a default stylings that incorporate our custom components.

      (The English here sounds awkward.)

      Gyuri Lajos, in the Stop Reset Go team, recommended using Materialize CSS.

      If it is based on Google’s Material Design, there are a lot of resources available to explore the possibilities. If I was building a Progressive Web App, this might be the place to start.

      The project appears to be at an early stage of development, with a 1.0.0 release.

    1. Created and designed by Google, Material Design is a design language that combines the classic principles of successful design along with innovation and technology.
  10. getuikit.com getuikit.com
    1. A lightweight and modular front-end framework for developing fast and powerful web interfaces.

      So far, this is one of the most complete web design frameworks that I have encountered. The list of components is extensive.

    1. An organization of designers collectively advocating for the ethical practice of design and for the bargaining power of employees, freelancers, and educators against the commoditization of design by corporate and capitalist value extraction that is actively undermining the flourishing of humans for the sake of monopolizing social communication through advertising and marketing and the accumulation of profits for the benefit of a select few at the top of the corporate hierarchies.

      I am curious to read The Ministry for the Future by Kim Stanley Robinson as recommended by Raphaelle Moatti in the Design Science Studio coheART2.

    1. If I could get policymakers, and citizens, everywhere to read just one book this year, it would be Kim Stanley Robinson’s The Ministry for the Future.

      Quoted on the Amazon product page for the book, The Ministry for the Future by Kim Stanley Robinson.

      The book was recommended by Raphaelle Moatti in the Design Science Studio coheART2.

    1. A retrospective of 50 years as a human being on planet Earth.

      The Art of Noticing

      This is a compilation of articles that I had written as a way to process the changes I was observing in the world and, consequently, in myself as a reaction to the events. I have come to think of this process as the art of noticing. This process is in contrast to the expectation that I should be a productive member of society, a target market, and a passive audience for charismatic leaders: celebrities, billionaires, and politicians.

      • Social: fame
      • Economic: wealth
      • Political: power

      An Agent of Change

      To become an agent of change is to recognize that we are not separate, we are not individuals, we are not cogs in a machine. We are complex and diverse. We are designers. We are a creative, collective, self-organizing, learning community.

      We are in a process of becoming—a being journey:

      • Personal resilience
      • Social influence
      • Economic capacity
      • Political agency
      • Ecological harmony

      This is how we shift from an attention economy to an intention economy. Rather than being oriented toward the failures of the past, the uncertainty of the present, or the worries of the future, in a constant state of anxiety, stress, and fear, we are shifting our consciousness to manifest our intention through perception (senses), cognition (mind), emotion (heart), and action (body). We are exploring how we imagine, design, and build the future together.

      We are the builders collective.

      We are one.

    1. The rise of the Nazis in 1933 caused an unprecedented forced migration of hundreds of artists within and, in many cases, ultimately away from Europe. Exiles and Emigres, published in conjunction with a traveling exhibition opening in February 1997 at the Los Angeles County Museum of Art, is the first book to trace the lives and work of 23 well-known painters, sculptors, photographers, and architects exiled from their homelands during the 12 years of Nazi rule.

      “The Bauhaus concept, as it was transplanted to the United States, was fundamentally different from the principles upon which the experimental school had been founded in Weimar in 1919. The guiding principle of the Bauhaus was to unify all aspects of art making—painting, sculpture, handicrafts—as elements of a new kind of art, erasing the division between “high” and decorative art. Explorations of materials, color, and form were important building blocks of the curriculum. The artists and designers of the Bauhaus believed that this new type of art and design would help to create a better society, and they sought commissions to design public buildings and other elements of public life (such as flags and currency). In America, however, the Bauhaus ideas lost their social and political thrust. The emigré teachers in Chicago, Cambridge, and North Carolina who had been committed to progressive architecture and design ideas in Germany were now lionized as upholders of a pure, reductivist style.”

      (Stephanie Barron, page 25)

    1. In ecology, edge effects are changes in population or community structures that occur at the boundary of two or more habitats.[1] Areas with small habitat fragments exhibit especially pronounced edge effects that may extend throughout the range. As the edge effects increase, the boundary habitat allows for greater biodiversity.

      Edge Effects

      It was in the Design Science Studio that I learned about edge effects.

      Yesterday, I was thinking about how my life embodies the concept of edge effects. That same day, a book was delivered to our door, Design for the Real World by Victor Papanek.

      Today, I was reading these words:

      Design for the Real World

      Design for Survival and Survival through Design: A Summation

      Integrated, comprehensive, anticipatory design is the act of planning and shaping carried on across the various disciplines, an act continuously carried on at interfaces between them.

      Victor Papanek goes on to say:

      It is at the border of different techniques or disciplines that most new discoveries are made and most action is inaugurated. It is when two differing areas of knowledge are brought into contact with one another that… a new science may come into being.

      (Page 323)


      Exiles and Emigrés

      The Bauhaus spread its ideas because it existed at the boundaries, the avant-garde, the edges of what was thought to be possible, especially as a socialist utopian idea found its way to a capitalist industrial-military complex, where the concept of modernism was co-opted and colonized by globalizing economic forces beyond the control of the individual. Design was the virus that propagated around the world through the vehicle of corporate globalization.

      That same design ethic is infecting corporations with a conscience, with empathy, with a process that begins with listening to people. Design is the virus that can spread the values of unconditional love throughout the body of neoliberal capitalism.

    1. This is the abuse of the power of the state to enforce the abuse of power of a tactical military police force to enforce an unlawful provincial court injunction in breach of Indigenous, Canadian, and international law.

      The Canadian genocide operates on the basis of exclusion, division, and disempowerment:

      • Social: learned helplessness
      • Economic: trained incapacities
      • Political: bureaucratic intransigence

      Watch the Canadian Prime Minister make the argument that institutions such as the Federal Government of the Dominion of Canada and the Catholic Church are set in their ways and inherently resistant to change. Change does not come from institutions, designed to maintain the status quo.

      If the issue of changing the name of a building in Parliament is going to take more conversation and more time, clearly time is on the side of Canada, but not on the side of the Indigenous Peoples. Democracy, capitalism, and constitutional monarchy are weapons of the state.

      The goal of white supremacy is to disempower through the ongoing threat of violence to legitimize the social, economic, and political architecture designed to manufacture the consent of the governed to the rule of law and the Crown.

      A culture of learned helplessness, trained incapacities, and bureaucratic intransigence are the social, economic, and political mechanisms of coercion that have worked so effectively over 153 years to design, build, and maintain a genocidal, apartheid state.

      It is not possible to make incremental changes to a killing machine to mitigate the harms. The Nazi regime had to be dismantled. The Canadian genocide ends with the dismantling of the Canadian regime. Declare the claims of the Crown to the land illegitimate. #LandBack

      The solution is simple. But white supremacy is about power. Letting go is hard. Until the mind of the White Supremacist changes, the public relations spectacles will continue, and the violence of the RCMP and the bureaucratic apartheid state will escalate genocide and ecocide.

      Individualism and the illusion of legislative representation disempower the solidarity of collective action, enabling the public consent and complicity in the Canadian genocide with impunity. Change would require agreement, coordination, and collaboration.

      We have a model for change that we can borrow from corporations that have weaponized collective consciousness, action, and governance. The design process has been proven as a successful model for global domination, monopolizing human time, energy, and resources.

      However, with greater disillusionment in the promises of our institutions, we are experiencing multiple systemic failures, leaving us with deep dissatisfaction in the existing reality with no sense of a desirable, feasible, or viable alternative.

      We are all designers. We can reclaim our power from the authoritarians to which we have abdicated our collective power. We can reclaim our social influence, economic capacity, and political agency. Indigenous History: Learning from the past to create a future that works for all

      We invite people to collaborate with us in the process of changing the world by first changing ourselves through the process of design.

      We are exploring how we imagine, design, and build the future together.

      We will begin by recreating our own realities by starting with an understanding of our relationships with each other and to all living beings and to the universe of shared experiences in which we find ourselves.

      We will begin with an appreciation of the complexity, diversity, and unity of this Creation that binds us to each other as neighbours and kin.

      We acknowledge that we are living on the unceded territories of those who have lived on these lands from time immemorial. We seek to share the good things of this earth, taking only what is given, living in reciprocity by giving back more than what we have been given.

    1. DesCan

      Design Professionals of Canada

      DesCan invites you to participate and be part of the change.

      I tried to be part of that change by focusing on the process of decolonizing design. However, it seems that the community was not ready for this approach, and I was excluded.

      I have learned that exclusion zones are the modus operandi of Canadian social, economic, and political systems.

    1. Design for the Real World

      You have to make up your mind either to make sense or to make money, if you want to be a designer.

      — R. Buckminster Fuller

      (Page 86)

    2. Design for the Real World

      Victor Papanek’s book includes an introduction written by R. Buckminster Fuller, Carbondale, Illinois. (Sadly, the Thames & Hudson 2019 Third Edition does not include this introduction. Monoskop has preserved the following text as a PDF file of images. I have transcribed a portion below.)

      Buckminster Fuller on Design

      In this book, Victor Papanek speaks about everything as design. I agree with that and will elaborate on it in my own way.

      To me the word “design” can mean either a weightless, metaphysical conception or a physical pattern. I tend to differentiate between design as a subjective experience, i.e., designs which affect me and produce involuntary and often subconscious reactions, in contradistinction to the designs that I undertake objectively in response to stimuli. What I elect to do consciously is objective design. When we say there is a design, it indicates that an intellect has organized events into discrete and conceptual inter-patternings. Snowflakes are design, crystals are design, music is design, and the electromagnetic spectrum of which the rainbow colors are but one millionth of its range is design; planets, stars, galaxies, and their contained behaviours such as the periodical regularities of the chemical elements are all design-accomplishments. If a DNA-RNA genetic code programs the design of roses, elephants, and bees, we will have to ask what intellect designed the DNA-RNA code as well as the atoms and molecules which implement the coded programs.

      The opposite of design is chaos. Design is intelligent or intelligible. Most of the design subjectively experienced by humans is a priori the design of sea waves, winds, birds, animals, grasses, flowers, rocks, mosquitoes, spiders, salmon, crabs, and flying fish. Humans are confronted with an a priori, comprehensive, designing intellect which for instance has designed the sustenance of life on the planet we call earth through the primary impoundment of Sun energy on Earth by the photosynthetic functioning of vegetation, during which process all the by-product gases given off by the vegetation are designed to be the specific chemical gases essential to sustaining all mammalian life on Earth, and when these gases are consumed by the mammals, they in turn are transformed again by chemical combining and disassociations, to product the by-product gases essential to the regeneration of the vegetation, thus completing a totally regenerative ecological design cycle.

      If one realizes that the universe is sum-totally an evolutionary design integrity, then one may be prone to acknowledge that an a priori intellect of infinitely vast considerateness and competence is everywhere and everywhere overwhelmingly manifest.

      In view of a number of discoveries such as the ecological regeneration manifest in the mammalian-vegetation interexchange of gases, we can comprehend why responsibly thinking humans have time and again throughout the ages come to acknowledge a supra-human omniscience and omnipotence.

      The self-regenerative scenario universe is an a prior design integrity. The universe is everywhere, and continually, manifesting an intellectual integrity which inherently comprehends all macro-micro event patterning and how to employ that information objectively with omni-consideration of all inter-effects and reactions. The universe manifests an extraordinary aggregate of generalized principles, none of which contradict one another and all of which are inter-accommodative, with some of the inter-accommodations exhibiting high exponential levels of synergetic surprise. Some of them involve fourth-power geometrical levels of energy interactions.

    3. Design for the Real World

      by Victor Papanek

      Papanek on the Bauhaus

      Many of the “sane design” or “design reform” movements of the time, such as those engendered by the writings and teachings of William Morris in England and Elbert Hubbard in the United States, were rooted in a sort of Luddite antimachine philosophy. By contrast Frank Llloyd Wright said as early as 1894 that “the machine is here to stay” and that the designer should “use this normal tool of civilization to best advantage instead of prostituting it as he has hitherto done in reproducing with murderous ubiquity forms born of other times and other conditions which it can only serve to destroy.” Yet designers of the last century were either perpetrators of voluptuous Victorian-Baroque or members of an artsy-craftsy clique who were dismayed by machine technology. The work of the Kunstgewerbeschule in Austria and the German Werkbund anticipated things to come, but it was not until Walter Gropius founded the German Bauhaus in 1919 that an uneasy marriage between art and machine was achieved.

      No design school in history had greater influence in shaping taste and design than the Bauhaus. It was the first school to consider design a vital part of the production process rather than “applied art” or “industrial arts.” It became the first international forum on design because it drew its faculty and students from all over the world, and its influence traveled as these people later founded design offices and schools in many countries. Almost every major design school in the United States today still uses the basic foundation course developed by the Bauhaus. It made good sense in 1919 to let a German 19-year-old experiment with drill press and circular saw, welding torch and lathe, so that he might “experience the interaction between tool and material.” Today the same method is an anachronism, for an American teenager has spent much of his life in a machine-dominated society (and cumulatively probably a great deal of time lying under various automobiles, souping them up). For a student whose American design school slavishly imitates teaching patterns developed by the Bauhaus, computer sciences and electronics and plastics technology and cybernetics and bionics simply do not exist. The courses the Bauhaus developed were excellent for their time and place (telesis), but American schools following this pattern in the eighties are perpetuating design infantilism.

      The Bauhaus was in a sense a nonadaptive mutation in design, for the genes contributing to its convergence characteristics were badly chosen. In boldface type, it announced its manifesto: “Architects, sculptors, painters, we must all turn to the crafts.… Let us create a new guild of craftsmen!” The heavy emphasis on interaction between crafts, art, and design turned out to be a blind alley. The inherent nihilism of the pictorial arts of the post-World War I period had little to contribute that would be useful to the average, or even to the discriminating, consumer. The paintings of Kandinsky, Klee, Feininger, et al., on the other hand, had no connection whatsoever with the anemic elegance some designers imposed on products.

      (Pages 30-31)

    1. Victor Papanek’s book includes an introduction written by R. Buckminster Fuller, Carbondale, Illinois. (Sadly, the Thames & Hudson 2019 Third Edition does not include this introduction. Monoskop has preserved this text as a PDF file of images. I have transcribed a portion here.)

    1. More directly about this gilded path through the tool. So, in an initial version of Sketch-n-Sketch and the version that we demoed at Strange Loop, there were many requirements about the syntactic structure of the program that if they weren’t satisfied certain interactions in the output would no longer be available. So a simple example is in that initial milestone, the main expression, the main definition of the program essentially had to be a list literal of shapes. And each of those shapes had to be a top level definition in your program and only then could certain interactions be available to users.
    1. As early as 1928, Edward Bernays recognized propaganda as a modern instrument to produce productive ends and "help bring order out of chaos".

      Amy Westervelt delves into the history of propaganda to uncover the deceit at the heart of public relations, marketing, advertising, and design in an analysis of the business strategies of oil and gas companies in the podcast, Drilled.

      Westervelt pays particular interest to Edward Bernays.

      “Sigmund Freud’s nephew, Edward Bernays, coined the term ‘public relations’ when propaganda started to become a negative term. His specialty was using psychological know-how to manipulate the masses and orchestrate cultural shifts in his clients’ favor (clients like Standard Oil, the American Tobacco Company, and General Motors).”

    1. “ I got validation as an artist, designer, writer, event organizer, leader, friend, and human being with influence, capacity, and agency by providing opportunities, permission, and encouragement to try everything.”— Anonymous

      Where my testimonial is featured on the Program page for the Design Science Studio, but attributed to Anonymous.

      This made me laugh. Actually, I prefer being anonymous.

      Or, maybe it is recognizing my limitations. Walter Gropius recognized his own limitations and turned that into an ability to connect with people who filled in the gaps in his capabilities. As an architect, his role was to gather people to fulfill a vision that was far beyond what he could accomplish on his own.

      The Hidden History of the Geodesic Dome - Part 3: The Teamwork of Walter Gropius

    2. “ The greatest benefit by far was to discover we are not alone. That there is a method to this madness”— Stephen Bau, Evolutionary

      Where my testimonial is featured on the Program page for the Design Science Studio.

    1. In Paris last June, at an assembly for architectural students held in conjunction with the International Union of Architects’ Eighth Biennial World Congress, the students adopted a proposal by Fuller that the years from 1965 to 1975 be designated as a World Design Science Decade.

      This New Yorker Magazine article from December 31, 1965 notes the adoption of the proposal for a World Design Science Decade from 1965 to 1975.

  11. Sep 2021
    1. My father was sharing a book by Brené Brown, Dare to Lead. I shared this website I had created while I was an instructor at the University of the Fraser Valley.

      I pointed him to the TED talk by Brené Brown on The Power of Vulnerability.

    1. A mental model is what the user believes about the system at hand.

      “Mental models are one of the most important concepts in human–computer interaction (HCI).”

      — Nielsen Norman Group

    1. We are all designers

      A design brief for a project to reimagine our social architecture. The Design Science Studio is the new Bauhaus, the community, the builders collective who are building a world that works for 100% of life. The Stop Reset Go is the project that is exploring how we imagine, design, and build the kind of world that we want to live in. How do we empower humanity to be the designers who can engage in a process of bottom-up whole system change?

    1. Stop Reset Go

      How do we engage in bottom-up whole system change? Perhaps we need a model for understanding who we are serving that transcends the bias and limitations of personas as they are used in user experience design (UX).

      What is a more holistic model for understanding human perceptions, motivations, and behaviours?

    1. The book, This is Service Design Doing, includes journey maps as a method for participatory design and co-creation workshops.

      I suggested to the Stop Reset Go team that we should map out the interactions and touch points to engage people with the process of bottom-up whole system change.

    1. We are exploring how we imagine, design, and build the future together.

      Builders Collective

      So, they put together a team of individuals who could collectively imagine the possibilities of building the kind of world where they could all live together in peace. They made a simple declaration:

      We are exploring how we imagine, design, and build the future together.

    1. We don't need the threat of repo men to keep you paying your car note – miss a Tesla payment and your car will phone home and lock its doors. When the tow arrives, it will flash its lights, honk its horn and back out of its parking space for repossession.

      The technology in advanced cars like the Tesla can be used for repossessing them. Is this an intended or unintended consequence?

    1. Example of how expending a little extra energy creates two more useful outputs (compostable solids, and "cleaner" greywater) as well as lowering sewage system maintenance needs. Possibly, an example of how TRIZ "separation" principle can be applied.

    1. Design for the Real World

      Mike Monteiro references Victor Papanek’s book, Design for the Real World, in his article, Design’s Lost Generation.

      The Anti UX UX Club will be discussing Mike Monteiro’s article on Clubhouse.

    1. Four Panel Discussions on Climate Solutions at Climate Week NYC 2021

      Maxi Cohen from the Design Science Studio invited us to the Climate Impact panel discussions.

      The video was live on Facebook Live.

    1. he members in a building that serve as the collectors are typically the same members that are used as the chords for the lateral force in the perpendicular direction. Thus, the design of the chord and the collector for a given wall may simply involve the design of the same member for different forces. In fact, for a given perimeter member, the chord force is compared with the collector force, and the design is based on the critical force.

      This is my annotation

    1. Local governments can use participatory “co-design” principles and practices to help ensure that their programs and products that use open data are designed to meet the needs of current and potential users.
    1. an umbrella term covering community planning, community architecture, social architecture, community development and community participation, all of which emphasize the involvement of local people in the social and physical development of the environment in which they live.
    1. Equity-Centered Community Design (ECCD) is a creative problem-solving framework developed by Creative Reaction Lab that supports the development of equity-centered approaches that will dismantle oppressive systems.
    1. One of the less developed ideas in The Extended Mind concerns the things we prioritize in tech development. Too often, Paul says, we think speed is the height of achievement. Instead, we need technology that builds off of our innate, human capacities.

      Perhaps we need more songlines in our instructional design?

      This is also a plea for a more humanistic approach to technology in general.

    2. Schools don’t teach students how to restore their depleted attention with exposure to nature and the outdoors, or how to arrange their study spaces so that they extend intelligent thought.

      I'm reminded of Lynne Kelly's use of Indigenous Australian memory techniques which do both of these things at the same time: https://www.lynnekelly.com.au/?p=4794

    1. Web I Projects: 2015 - 2020

      Which of the projects listed on this webpage that you have liked? and why?

    1. Haber, N. A., Wieten, S. E., Rohrer, J. M., Arah, O. A., Tennant, P. W. G., Stuart, E. A., Murray, E. J., Pilleron, S., Lam, S. T., Riederer, E., Howcutt, S. J., Simmons, A. E., Leyrat, C., Schoenegger, P., Booman, A., Dufour, M.-S. K., O’Donoghue, A. L., Baglini, R., Do, S., … Fox, M. P. (2021). Causal and Associational Linking Language From Observational Research and Health Evaluation Literature in Practice: A systematic language evaluation [Preprint]. Epidemiology. https://doi.org/10.1101/2021.08.25.21262631

  12. Aug 2021
    1. making it impossiblewhile editing a method to glance at a related onewithout using a separate browser.

      See also: the decision by every Web browser vendor's devtools team to make their viewers modal (in the 21st century!) and then add injury to injury making the monolithic implementation a "UI singleton"—so you don't even have the choice to open another instance!

    1. Although it is difficult at present to know the precise impact of such filing systems, it is clear thatLinnaeus’s design mirrored the ways in which he arranged heads in his notes and books. The inte-rior space of his cabinet was divided into two open-faced columns, which meant that it was a phys-ical instantiation of a bilateral table.

      The design of Carl Linnaeus' specimen cabinets mirrored that of the bilateral tables and the ways he arranged his heads in his notes and books.

    1. The beauty of space science-fantasy adventure is to manually pilot or captain your own spaceship into the vast unknown. For exploration, combat and various other role-specific game mechanics, the cockpit view gives a sense of ownership and grounding to a player’s chosen ship purchases. This immersive first person, seated view will allow players to utilize equipment such as flightsticks, throttles, multi-functional button control panels, head tracking hardware, and most importantly, virtual reality head-mounted displays.

      And yeah, Space Flight Simulation!

    2. The first principle driving the entire economy of Star Atlas is the mining gameplay. The wealth derived from mining creates many other branching revenue streams for players to contribute to and establish a career. From trading raw and refined ore, to cargo hauling, to crafting retail components, there is a broad range of career choices a player can embody and advance within the specializations of that career.

      How do players play and make money?

    3. To augment that grand strategy, Star Atlas enables players to captain deep-space, crewed spaceships to scan and discover celestial and terrestrial assets. Once discovered, rich claims that are staked can be mined, refined and traded through a network of commercial mining installations, refineries, and the Universal Marketplace. Exploration will lead to many other surprises in the outer limits of space. In this mode the player primarily interacts with a top down space view showing their spaceship exterior with the ability to go into an x-ray view to see the interior of the ship and the crew performing their individual tasks. Players can also captain and pilot the ship manually through the first person cockpit/bridge view. Cockpit view is also suitable for seated virtual reality gaming.

      How Star Atlas' Grand Strategy implemented?

    4. The grand strategy genre of video games encourages claim staking to expand your empire and install strategic trade routes using an offensive and defensive tactical plan of action. In this mode the player primarily interacts with a dynamic overview of the charted and uncharted regions of space via the map view aka the Star Atlas.

      Star Atlas's grand strategy.

    5. The way a blockchain network is designed closely mimics the basis for the genre of Star Atlas. Mining or staking is the core of how blockchain assets are proven to be legitimate and tangible. To discover mined assets requires exploration on the part of a miner to unlock value. People set up mining or staking nodes and plug them into the blockchain network to enhance the network while also earning value from it. The hybrid experience of Star Atlas closely mimics the nature of how blockchain technology functions.

      Star Atlas design mimics how a blockchain network functions.

    1. This observation extends to tables, chairs, scritoires, chimneys, coaches, sadles, ploughs, and indeed to every work of art; it being an universal rule, that their beauty is chiefly deriv’d from their utility, and from their fitness for that purpose, to which they are destin’d.

      «Design» anachronically

    1. "Whether those slashes were forward slashes or back slashes didn't affect how the Web worked," he says, "but it does affect how other developers react to it
    1. I dutifully went through the orientation process with a newly created avatar a few weeks ago so that I could anticipate what the students would be facing.

      Instructional design in virtual worlds reveals many, many challenges. Asking an in-world friend or colleague to visit a build can be a big ask, given that most are engaged in building and design, themselves; still, a fresh look is likely to bring good feedback.

  13. Jul 2021
    1. All platforms. Professional features. Beautiful UI. Totally free. FontBase is the font manager of the new generation, built by designers, for designers.

  14. datatracker.ietf.org datatracker.ietf.org
    1. The WebSocket Protocol is designed on the principle that there should be minimal framing (the only framing that exists is to make the protocol frame-based instead of stream-based and to support a distinction between Unicode text and binary frames). It is expected that metadata would be layered on top of WebSocket by the application Fette & Melnikov Standards Track [Page 9] RFC 6455 The WebSocket Protocol December 2011 layer, in the same way that metadata is layered on top of TCP by the application layer (e.g., HTTP). Conceptually, WebSocket is really just a layer on top of TCP that does the following: o adds a web origin-based security model for browsers o adds an addressing and protocol naming mechanism to support multiple services on one port and multiple host names on one IP address o layers a framing mechanism on top of TCP to get back to the IP packet mechanism that TCP is built on, but without length limits o includes an additional closing handshake in-band that is designed to work in the presence of proxies and other intermediaries Other than that, WebSocket adds nothing. Basically it is intended to be as close to just exposing raw TCP to script as possible given the constraints of the Web. It's also designed in such a way that its servers can share a port with HTTP servers, by having its handshake be a valid HTTP Upgrade request. One could conceptually use other protocols to establish client-server messaging, but the intent of WebSockets is to provide a relatively simple protocol that can coexist with HTTP and deployed HTTP infrastructure (such as proxies) and that is as close to TCP as is safe for use with such infrastructure given security considerations, with targeted additions to simplify usage and keep simple things simple (such as the addition of message semantics).
    2. The goal of this technology is to provide a mechanism for browser-based applications that need two-way communication with servers that does not rely on opening multiple HTTP connections (e.g., using XMLHttpRequest or <iframe>s and long polling).