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os media a consumo

We face a future in which we become dead-eyed consumers, tapping at things that do not know us or love us.
in "Tap tap tap" 18 nov 2017

Ainda a semanas do mês natalício e já as resoluções de ano novo começam a fazer o seu caminho. Segue-se novo touch down em $$$ e jornalismo, circa finais do ano de todas as alternações.

Esperemos que a história nos faça justiça às teses: antes de borbulhar entre cabecinhas bem-pensantes que aqui chegámos já o avisávamos que viríamos. E se outros colocam a tónica no $$$, arriscam a perder-se no trajeto: esta é uma paragem – antes, uma portagem – mas todas as estradas vão dar à autenticidade. Também aqui nos devem justiça: se não a precisámos ainda, não é porque não espreite em todas as oportunidades. Mas, a crer no geist, ainda e sempre o $$$ a atordoar a Razão. Mashup sumarento para lazy sunday.

We are now walking through a media desert. While access to content is astronomically high, the content that we read is dead, lifeless, and derivative.
in "Tap tap tap" 18 nov 2017

Notícias que são conteúdos que são lixo. Aquilo de andarem todos de cabeça cabisbaixa – duplo intento: reconhecem este comportamento entre os vossos pares?

Her interactivity style was simple: swipe down, double tap on something that looked nice, and continue. Tap tap, swipe, tap tap, swipe. Tap tap, swipe. Tap tap, swipe. It was a way to pass the time. She did not see as much as sip, taking in an undifferentiated stream of content.

This tapping forced broadcast media – curated, edited, and audience-tested television and radio – to rethink its models. First it had to shock and outrage. We are now at the heart of the maelstrom. Our complex machines ask of us little more than a tap or a swipe and our media is free and ever flowing. Television and radio have pumped up the anxiety in order win back users they’ve already lost. Online media is controlled by robots and robotic humans that create content that is exactly on point, a zeitgeist-chasing machine that is unparalleled in history.
in "Tap tap tap" 18 nov 2017

E a nossa benevolência à peça termina nesta análise. Onde os nossos caminhos se separam: enter $$$, onde ironicamente continuam a enredar no seu próprio demise.

We built our own demise. We created content without context and we gave it out for free. We can turn things around, however. First, we must pay content creators.
In the coming era of frictionless payments and always-on Internet, we must help each other. We must really connect. We must treasure and nurture the spaces designed for this sort of coming together and avoid places and people that would tear us apart.
in "Tap tap tap" 18 nov 2017

Mais ou menos explícito, subentende-se uma lógica de capitalizar sobre os conteúdos (*).

* Demasiado on the nose terminar com um “capitalizar sobre a informação”.

Já entre os que estão sintonizados às nossas indagações, presente e conclusão lógica -que escapa ao autor do artigo...?-, este tropeça inadvertidamente no autêntico.

We must decide, ultimately, what the world looks like when the backlash begins. We must prepare for a reboot of all of our systems. We must be ready for the death of TV and radio as we enter a world in which media is piped in in different ways and via other sensory pathways. We have had enough of the old, fake way. We need to prepare for the real.
in "Tap tap tap" 18 nov 2017

Mas perdoemos o TechCrunch, essa entrada marca pontos em autoridade entre os techies. Poderemos encontrar o mesmo soul searching aos media entre outlets do jornalismo de referência? Shiiiit, sabem que se não tivéssemos já a resposta nem fazíamos a pergunta! Segue-se um long read abreviado do manifesto do The Guardian16 nov 2017 (*). A mesma abordagem, os nossos reparos iguais.

* Que deveriam ler na sua totalidade: saltamos a sua história mas parte dessa é razão de ser da sua seleção habitual entre as nossas teses.

The circumstances in which we report, produce, distribute and obtain the news have changed so dramatically that this moment requires nothing less than a serious consideration of what we do and why we do it.

Now we are living through another extraordinary period in history: one defined by dazzling political shocks and the disruptive impact of new technologies in every part of our lives. The public sphere has changed more radically in the past two decades than in the previous two centuries – and news organisations, including this one, have worked hard to adjust.
in "A mission for journalism in a time of crisis" 16 nov 2017

The past three decades – since the invention of the world wide web in 1989 – have transformed our idea of the public

This technological revolution was exciting and inspiring. After 600 years of the Gutenberg era, when mass communication was dominated by established and hierarchical sources of information, the web felt like a breath of fresh air: open, creative, egalitarian. As its creator, Tim Berners-Lee, put it, “this is for everyone”. At first, it felt like the beginning of a thrilling new era of hyper-connectivity, with all the world’s knowledge at our fingertips and every person empowered to participate – as if the internet was one big town square where all our problems could be solved and everyone helped each other.

But it has become clear that the utopian mood of the early 2000s did not anticipate all that technology would enable. Our digital town squares have become mobbed with bullies, misogynists and racists, who have brought a new kind of hysteria to public debate. Our movements and feelings are constantly monitored, because surveillance is the business model of the digital age. Facebook has become the richest and most powerful publisher in history by replacing editors with algorithms - shifting entire societies away from the open terrain of genuine debate and argument, while they make billions from our valued attention.
in "A mission for journalism in a time of crisis" 16 nov 2017

$$$, pt1

This shift presents big challenges for liberal democracy. But it presents particular problems for journalism.

The transition from print to digital did not initially change the basic business model for many news organisations – that is, selling advertisements to fund the journalism delivered to readers. For a time, it seemed that the potentially vast scale of an online audience might compensate for the decline in print readers and advertisers. But this business model is currently collapsing, as Facebook and Google swallow digital advertising; as a result, the digital journalism produced by many news organisations has become less and less meaningful.

Publishers that are funded by algorithmic ads are locked in a race to the bottom in pursuit of any audience they can find – desperately binge-publishing without checking facts, pushing out the most shrill and most extreme stories to boost clicks. But even this huge scale can no longer secure enough revenue.
in "A mission for journalism in a time of crisis" 16 nov 2017


We have experienced a huge number of political and social shocks, a dramatic undermining of the business model for serious journalism, and what many believe is an unprecedented level of disruption to our planet, our nation states, our communities, ourselves.

What is becoming clear is that the way things have been run is unsustainable. We are at a turning point in which, in writer Naomi Klein’s words, “the spell of neoliberalism has been broken, crushed under the weight of lived experience and a mountain of evidence”. (Klein defines neoliberalism as “shorthand for an economic project that vilifies the public sphere”.) Perhaps the markets don’t have all the answers after all. The Financial Times columnist Martin Wolf, who says that many had not understood how “radical the implications” of worsening inequality would be, suggests that the political backlash to globalisation could possibly produce a “fundamental transformation of the world – at least as significant as the one that brought about the first world war and the Russian revolution.”
in "A mission for journalism in a time of crisis" 16 nov 2017


Readers are overwhelmed: bewildered by the quantity of “news” they see every day, nagged by intrusive pop-up ads, confused by what is real and what is fake, and confronted with an experience that is neither useful nor enjoyable.

Many people get most of their news from Facebook, which means that information arrives in one big stream – which may contain fact-based independent journalism from transparent sources alongside invented stories from a click farm, or content funded by malevolent actors to influence an election.

This has created a crisis for public life, and particularly for the press, which risks becoming wholly part of the same establishment that the public no longer trusts.
in "A mission for journalism in a time of crisis" 16 nov 2017

Case study: The Guardian, digital savvy e sem paywall, for tha liberal radical peeps.

A sense of responsibility to the public  - a celebration of more people getting educated, of more people engaging in politics, from different walks of life, from poorer communities

We believe in the value of the public sphere; that there is such a thing as the public interest, and the common good; that we are all of equal worth; that the world should be free and fair. We will follow five principles:

  • We will develop ideas that help improve the world, not just critique it;
  • We will collaborate with readers, and others, to have greater impact;
  • We will diversify, to have richer reporting from a representative newsroom;
  • We will be meaningful in all of our work;
  • And, underpinning it all, we will report fairly on people as well as power and find things out.
in "A mission for journalism in a time of crisis" 16 nov 2017

E a tecnologia que o suporta.

We must embrace the new ways that people are engaging in the world, not long for a lost past when the ballot box and a handful of powerful media was the end of the story.

While many news organisations saw the internet as a threat to the old hierarchies of authority, forward-looking editors embraced this hopeful new future for journalism, by investing in digital expansion - and by understanding that journalists, in this new world, must be open to challenge and debate from their audience.

Our readers want to be nourished – by meaningful journalism about technology, economics, science, the arts – not fattened up with junk. We can be fun, and we must be funny, but it must always have a point, laughing with our audience, never at them. Their attention is not a commodity to be exploited and sold.  Rather than overwhelming readers with stuff we demand they consume, we will edit for a meaningful experience. In print and in digital, we will be explanatory, visual, keepable.
in "A mission for journalism in a time of crisis" 16 nov 2017

$$$, pt2

À parte, para devida consideração. A dada altura a peça confunde-se com um peditório à subscrição – terão que o ler... – novamente devolvendo ao primeiro artigo que nos ocupou atrás. Como esse, depois de enunciar a importância de um jornalismo de qualidade, recorda-nos da necessidade de o pagar. Novamente, onde as nossas viagem partem ways. E, como atrás, como o próprio texto é insuspeito das sementes (*) que alimentam o nosso caminho.

* Com pozinhos de populismo, cruzes credo ai jesus...

[To] challenge the economic assumptions of the past three decades, which have extended market values such as competition and self-interest far beyond their natural sphere and seized the public realm. We will explore other principles and avenues through which to organise society for the common good. In doing this, we want nuance and knowledge, surprises and context and history, because power and influence might not reside where they used to; as identities change, the political assumptions of the recent past should not dictate our perspective on the present. We should be guided by curiosity, not certainty. We like experts, but that’s not enough; we must also ask why more people don’t.
in "A mission for journalism in a time of crisis" 16 nov 2017

Last, not least: o futuro do jornalismo:

If people long to understand the world, then news organisations must provide them with clarity: facts they can trust, information that they need, reported and written and edited with care and precision. If people long to create a better world, then we must use our platform to nurture imagination - hopeful ideas, fresh alternatives, belief that the way things are isn’t the way things need to be. We cannot merely criticise the status quo; we must also explore the new ideas that might displace it. We must build hope.
in "A mission for journalism in a time of crisis" 16 nov 2017

E de um futuro em risco de nos ser roubado basta-nos o manifesto de há quatro anos do The Guardian - que estamos a guardar para better days desde que o lemos, e haveremos de republicar entre OS POSITIVOS quando a altura de o cruzar a outras tendências se tornar mais gritante. Se, ie, entretanto não perdermos de vez a guerra pela web aberta.

The Rise of the Reader 9 out 2013: open web created genuinely new possibilities for journalism – and journalists who resisted the technological revolution would damage both their own interests and the interests of good journalism.
in "A mission for journalism in a time of crisis" 16 nov 2017

E no interesse do bom jornalismo, este deve sobreviver ao consumo dos media.


"the lost art of hidden tracks"

(i)change coms, change tha world: fall in love ed.
The hidden track these days is seen as a relic of the past.

Dizíamos que "o sentido da vida nas faixas escondidas do digital tornou-se um pouco mais difícil", e a propósito de arte e tecnologia voltamos ao tópico: não vos estamos apenas a dar música. Como antes: redes, identidades, descoberta , comunidade (*). E sempre, autenticidade.

* Já de comunicações escondidas cruzados a identidade, descoberta, comunidade: o propósito é para continuar escondidas!

Nearly everyone who came of age in the nineties remembers hidden tracks, those Easter eggs of the CD era. CDs still exist, of course, but the days when they were the primary vehicle for compiling, transporting, and playing music are long gone.
in "Behind the Music" 6 maio 2015

Do digital online, da nostalgia, e do disclaimer final para relativização.

I’ll concede that I may have developed a case of early-onset nostalgia. Having been born in the early eighties, my habits of media consumption were formed well before I applied for dual citizenship from the Internet.

That thrill of discovery, of sharing a secret with the artist, was one of the great pleasures of the CD. I get wistful for the leisure that hidden tracks represented, for artists and listeners both. If you took the time to sift through silence -even if the discovery was little more than a studio outtake- you never felt cheated. The sense was not that you’d abused your daily allotment of close attention, but that you’d exercised a kind of diligence: you’d stuck it out, like a runner finishing a marathon. When artists hid these songs, they did so with full confidence that their audiences would search for them: that listeners were thorough.

That said, the act of detection was often more satisfying than the hidden track itself.
in "Behind the Music" 6 maio 2015

The hidden track was born of the LP age.

A "arte" da faixa escondida surge com o vinil, analógico por excelência, que pelas suas propriedades requer que esta esteja visualmente escondida no disco. Exemplo:

The Monty Python "Matching Tie and Handkerchief" [is] a three-sided record with with concurrent grooves, an impressive technical feat pulled off by recording engineer George Peckham. Peckham later invented another vinyl phenomenon, the “run-off groove,” in which hard-to-see messages are placed onto the dead area of the wax.
in "Hidden Tracks: Nowhere Left To Hide" 9 nov 2017

Mas havia sempre pistas entre aqueles que as procurassem. Enter digital no formato CD, o arqui-inimigo de qualquer punk circa '90. A hipótese de descoberta exige agora tempo e a audição do registo, duas componentes mais naturais à música.

When vinyl was music’s preeminent medium, though, there were analog clues to an album’s secrets: you could examine the surface of a record and watch the needle make its way through every groove. It was when the CD, that tesseract of a medium, flourished that hidden tracks did, too.
in "Behind the Music" 6 maio 2015

Como no exemplo anterior, uma possibilidade "artística" sobre uma componente tecnológica.

"I got me a hidden track!", mas este é todo um outro (pequeno) livro vermelho em tech, politics e cultura

The Red Book, formulated by Philips and Sony, explains the detailed technical specifications of the format. The Red Book also hid within its specifications a number of quirks that bands would later discover and take advantage of. They introduced a number of opportunities to do really interesting things with albums that you couldn’t do during the vinyl era.
in "Hidden Tracks: Nowhere Left To Hide" 9 nov 2017

Artists took advantage of this broad canvas almost from the very beginning, but arguably the first group with major exposure to do so was Nirvana.

Case study, o que perdemos na relação à arte, consequência de avanços tecnológicos: então, e agora:

Beck's hidden track [in] "Mutations" 1998 didn’t become a topic of conversation — how could it, when so few of us even knew what it was called? Instead, it was the closest thing to music for its own sake: a secret discovered by audiophiles scouring every last one and zero of their CD collections for hidden meaning.
in "Behind the Music" 6 maio 2015

All you have to do to listen to “Diamond Bollocks” right now is open up Spotify: no waiting, no hunting, and certainly no absence of metadata. Hidden tracks are obsolete, and not just because no one listens to CDs anymore. Artists can’t afford to have listeners go unstimulated; after a few seconds of silence, they’ll simply scroll through the rest of the track or abandon it altogether.

Which makes me wonder: Are fans still cultivating that sense of intimacy with artists that hidden tracks provided?

As a teenager, living life entirely offline, I had little sense of Beck’s personality beyond what I could glean from his music. There were no tweets about his haircuts, no photos of his breakfast to like. Today, fans consume so many forms of media at once that sitting quietly, waiting for a hidden track to start, can seem like meditating.
in "Behind the Music" 6 maio 2015

A par do zeitgeist, terminamos de volta a cites de finais de 2017. Nowhere to hide, e a faixa escondida transforma-se em faixa bónus, o genuíno tornado comodidade - a obra de arte na era da evolução tecnológica.

We gained a lot when albums went fully digital, but we also lost a bunch of stuff along the way.

We have digital equivalents of all these things, so it’s not like we necessarily miss them. But perhaps the one thing we lost that we’ll never get back is the hidden track. It was one of the few things about an album that couldn’t easily be converted to MP3 or Spotify. Why is that? Simple: When everything’s a file and Siri can dig it up for you if you ask nicely enough, there’s simply nowhere to hide anymore.

These days, we just call these extra pieces of art what they are: bonus tracks. No hiding necessary. It’s not like Spotify will let us hide them anyway.
in "Hidden Tracks: Nowhere Left To Hide" 9 nov 2017

Difícil, não impossível. E mantemos posições: okupem, não recuem para cantos obscuros da rede.

É ao underground que chamamos de casa, mas já várias vezes vos incitámos a sair desta e okupar as ruas: é no mainstream que se fará a luta.
in Real Nós set 2017

Sorry: a hidden track não está no final, tens que procurar noutro sítio - hint hint...

os media a consumo


"self-publishing for fun and profit"

print is fun!

Da relação do digital publishing ao print, começando pelo que mexe no primeiro. O Publishers Weekly reporta da semana passada um Publishing Summit, 13 nov 2017 "a mix of publishing professionals, librarians, developers, executives, and digital creatives working with a now shared sense of purpose", sendo esse propósito o "the pressing need for a common standard in digital publishing."

Presentes dois pesos pesados de universos cada vez mais próximos: World Wide Web Consortium (W3C) e International Digital Publishing Forum (IDPF).

We need to have a dialogue within the publishing industry about the future of publishing and the web platform

The W3C has spent more than 20 years creating global standards for the Web and Web-based technologies. IDPF developed the EPUB format to be the “universal accessible interchange and delivery ecosystem for eBooks and other digital publications,” a goal that aligned with W3C's mission.
in " Digital Publishers Find Shared Purpose at W3C Publishing Summit" 13 nov 2017

Entre outros tópicos, acessibilidade, lista de formatos que não serão digitalizados (*) com a tech actual, e de olhos no futuro aquela ganância pelos dados: "exploring how data analysis, artificial intelligence, and virtual reality will reshape content in the future."

* "A long list of print formats that publishers currently can’t adapt as digital books: these included pop-up books, flap books, touch and feel books, and books with more than 3,000 images."

Exemplo curioso:

Bluefire Reader imagined a future where virtual reality tech is portable and ubiquitous.
in " Digital Publishers Find Shared Purpose at W3C Publishing Summit" 13 nov 2017

Exemplo mais assustador, mais ao virar da esquina, senão já implementado:

Artificial intelligence and analytics would help publishers target readers with the efficiency of Amazon. (...) Adobe “Sensei” artificial intelligence platform will someday help publishers craft “deeply personalized content”. (...) Macmillan already uses digital reading data to tailor learning to individual students.
in " Digital Publishers Find Shared Purpose at W3C Publishing Summit" 13 nov 2017

Finalmente, o nosso bottom line e introdução ao exemplo que registamos hoje às teses:

Maurice York, an associate librarian overseeing digital preservation as the University of Michigan Library/Publishing, offered some technological context. The librarian read a quote from a 1949 issue of Popular Mechanics magazine describing a 30-ton computer with 19,000 vacuum tubes—an unimaginably huge machine that is now eclipsed by the power of a single smartphone. “From a library perspective, we actually have to wonder," he said, holding up his smartphone. "In 60 or 70 years, is this going to be the equivalent of 19,000 vacuum tubes? Will everybody look back at this and say ‘What on earth were they thinking? That’s super weird.”

York’s library has preserved everything from papyrus to rare books to carefully standardized digital books, but the librarian reminded publishers to prepare for a future where technology might remove the need for screens and paper altogether.
in " Digital Publishers Find Shared Purpose at W3C Publishing Summit" 13 nov 2017

Segway ao tal exemplo. Não só suporta em digital ambas as variantes que são queridas ao W3C e IDPF, como engloba ainda o print em paper. Senhores...?

padrões de atómico
I was a bit nervous about producing a physical book since obviously any screw-ups would be forever ingrained in a physical format with no option to Cmd+Z (holy smokes I love the web).

De publicações, $$$, fá-lo tu mesmo,  redes digitais, artes, webdevs, daz worx…, com o exemplo recente de Brad Frost, outra figura familiar aos que se ocupam da envangelização de uma WWW aberta e popular como foi intencionada. O Brad publicou um livro. Físico, papel, objecto que podes meter na prateleira. Mas também o podes ler em digital, no formato da tua escolha. E também está online, aberto ao mundo, podes lê-lo a qualquer momento, quando quiseres, sem precisares de readers xpto ou devices proprietários. Não precisas de pagar por ele mas podes fazê-lo se o quiseres no papel: isso cobre o $$$. Das tecnologias: fê-lo a pensar nos dois mundos (papel, digital), fê-lo de forma aberta, colaborativa, DIY way. Mashup nosso para brevidade, podes ler tudo online em "Self-Publishing a Book for Fun and Profit" 14 nov 2017


$$$, grátis, preferências.

My book is available to read online in its entirety for free, which means people who can’t afford to buy the book can still access the content: the author can get their thoughts and ideas out to as many people as possible (after all, isn’t that a big reason why people write books?)

Mas com um objecto digital (*) e físico pelo qual podes pagar se essa é a tua preferência:

* "ePub, mobi, PDF for desktops, printing, and as a general fallback"

...while also providing people a vehicle to financially support the endeavor. And while reading a book online is possible, it’s not exactly an ideal format for long-form reading. Paperback and ebooks often provide much better experiences. So the combination works out: free online for reach and paid paperback & ebook for reading experience.


$$$, sem gatekeepers

Have your cake and eat it too

Many people are skeptical of the idea of “giving your ideas away for free”. Let me be clear: I 100% believe creators of all stripes should be compensated for their work, and I’m not suggesting everyone give away all their work away for free. I hope that (...) I’m able to demonstrate that it’s possible to work in the open and and share your work while simultaneously creating a product that people are willing to pay for.

And from a sales perspective, my big bet on writing the book in the open really paid off. In traditional publishing models, authors see a spike and the inevitable long tail of book sales. But by working in the open, it’s like a long-tail flipped on its head. That initial announcement and steady trickle of preorders provided enough capital to pay for all the book’s production costs and entirely removed the financial risk of the project. Pretty neat, huh?


Open: exclui fechado, ie editora.

Pelas mesmas razões que serão familiares a todos aqueles que enredam pelo DIY: controlo do processo at ur own pace, leeches.

Why not go through a publisher?

I’ve never written a book before, so it seems dumb to not work with a publisher, who could provide guidance, structure, and resources. But I had a vague sense of what all goes into creating a book, [and] a lot of my friends have written for publishers, and they got burned in a number of ways: they didn’t receive an equitable share in profits (some had a 90–10 split in favor of the publisher! Yowzers.), they were at the mercy of the company’s publishing schedule, they were restricted in what they could or could not write, they were forced to use specific (clunky) tools, they couldn’t announce or talk about the book before it was complete, they had a bunch of people breathing down their neck to get the thing done, they butted heads with the editorial direction, they couldn’t control their own art direction, and so on.

...e método. Ele escreveu o seu livro "out in the open" (*), por razões que não podem ser dissociadas da sua relação à natureza aberta da web. E novamente barreiras artificiais entre o velho print world e as novas tecnologias parecem obrigar a escolhas:

* Literalmente, quem quisesse podia puxar uma cópia dos textos e devolver sugestões e correções sobre este.

I seriously considered writing for one particular publisher and felt the arrangement to be fair for everyone involved, but there was one big problem. They were uncomfortable with the idea of me writing the book in the open and sharing the entirety of the manuscript and process as it was being written. So I ultimately turned them down and started down the self-publishing road.


Vantagens do online, aberto

  • It provides deep-linking functionality: sharing the entire manuscript online means that I can easily direct people to a certain heading or passage in the book’s text. I don’t know how authors of traditional books handle this, but I imagine it going something like, “Oh yeah, I’ve written all about [topic X]. Just buy my book, flip to page 142, and it’s in the second paragraph.” Seems clumsy.
  • It allows for crowdsourced edits – I woke up one morning to a slew of pull requests on my draft of Atomic Design. While I was fast asleep, a reader in another country went through the entire text and made a whole heap of grammatical edits. I rolled my eyes when I first saw this, but when I dove into the edits, sure enough they all checked out! Other readers flagged run-on sentences, fixed URLs, and pointed out confusing passages. All of this happened while I was still writing the book! I ultimately ended up working with a bona fide copy editor (more on this in a bit), but encouraging readers to submit issues helped make for a better final product.


Conclusão, recomendação.

Does this model work for others?

And now for the million dollar question: does this model scale? Can other people adopt this model of writing and apply it to their own work? I don’t see why not! I’m not going to say it’s the best choice for everyone who’s thinking about writing a book, but I think it makes sense for people who have built up some goodwill in their field, who want total control over their work, and who are willing to dive into areas of the publishing process that are normally handled by traditional publishers.



Mas antes de tecerem as vossas próprias conclusões, um último acrescento que retiramos da sequência do texto para destaque isolado. Terminada a produção do objecto, a sua distribuição: ainda o DIY.

We’ve also become pretty tight with the dude at the post office.

I decided to self-distribute the book. Despite quite a few people telling me I was crazy for taking on the tedium of distributing the books myself, I felt it important to maintain a close relationship with the people who supported the project, and also to bring the whole self-publishing thing full circle.

Almost a year into shipping books, I still genuinely enjoy the routine of shipping out copies of Atomic Design. It’s fun to see which countries the book gets shipped to (Faroe Islands! Malta! Iran!), and I love connecting with the awesome people who support the book.

E de distribuições distribuídas, fechamos mais este parentesis entre os techies do desenvolvimento web - mais punx pelo que fazem do que outros que só dão a cara ao livro (*) - e retomamos a promessa feita de encontrar o sentido da vida em faixas escondidas no digital na próxima volta.

* Cara livro? Facebook! Pensavam que estavamos a falar destes?

a arte perdida de encontrar


"lord, save me from my Ludditism"

Por Dave Rupert, a quem aqueles que lidam com all-things-webdev nos seus nutts and bolts não será estranho. Interrompemos no passado o estado da arte em desenvolvimento web à razão de urgências noutros tópicos, recuperamos em toda a sua extensão este post para recordar/registar o mood entre aqueles que se ocupam do tecido vivo que sustenta o meio.

The Medium 10 nov 2017

I’ve had a few similar conversations lately with colleagues I admire in the Web industry. They’ve all mentioned that they are a bit tired and burnt out. This happens, especially over time. But there is a trend. For most it comes down to the fact that the etherial World Wide Web, The Medium that we all love, appears broken or unrepairable.

The Medium which tied the world together is being used and exploited to drive us apart. Social networks promote abuse. Our data and personal information are weaponized against us. Chatbots competitively one-up eachother over conspiracy theories, gathering data. The endless daily news cycle of multiple things to be outraged about is exhausting for most non-robots. In many ways the central question of “What’s happening?” has changed to “What are we mad about?”

It’s hard to divorce the The Medium from the problems of the Physical World. Death. Struggle. Injustice. Politics. This sustained level of IRL civic engagement is tiring, but I will keep my eyes on the prize, hold on.

Alas, even the etherial currency created for The Medium is now working to destroy Physical World. One Bitcoin transaction now uses as much energy as your house in a week. If it were me, I’d shut down this experiment. It is immoral.

But that’s part of the problem, isn’t it? We’re building things without regard for the ethical implications. Especially, if ignoring the ethical ramificiations happens to create wealth. “Peak capitalism” I guess it’s called. As we yield control over to artificial intelligence and learned machines, I can only hope their trainers considered more than efficiency and capitalism.

The Medium is slowly being owned by a handful of companies. Reports of the Web’s death are greatly exaggerated, but concentrations of power rarely end up well for the general public.

For the physical pixels and bytes delivered to the glowing screens, I have heard specific concerns as well.

Recently in a talk about design I heard that “UX is a solved problem.” This particular use of “UX” was in the context of GUIs. That’s a bit deflating and hard to rebut. But maybe in some ways this is a relief, in less than 20 years we’ve managed to upload enough wisdom and shared knowledge into The Medium, that problems are no longer problems. Our knowledge can be automated and we can start thinking about bigger problems.

As browsers have gotten better and eliminated age-old problems, the build tools have gotten more complicated. In a recent talk on Source Maps I heard that “JavaScript is a compiled language”, which is to say the output sent to the browser more resembles a binary format than its human readable source. This is true, though not required. For me, I feel the complex toolchain disconnecting me from the instant gratification of publishing to the Web.

Lord, save me from my Ludditism.

I share the disillusionment. This version of The Medium is not The Medium I want or fell in love with. This is a love story about humans connecting across continents. I want to be hopeful even at the risk of being naïve.

I have to keep reminding myself that I do have some control. I can build The Medium I want. I can cling to what’s good. And this gives me hope.

Temos que nos manter P+. E para o ser, retomemos do excerto acima: "I do have somne control", é uma questão de o exercer para termos a web que queremos. Das redes, blogs, e partilha de ideias: porque devem e podem praticar (quase) todas as camadas do diagrama (*) que se segue por Jorge Arango em "What Are You Reading?" 8 nov 2017

* No qual encontram OS POSITIVOS principalmente ao meio, com ocasionais incursões em fanzines pela última, e raras a caminho das nenhumas na primeira, onde tanta discussão inútil acontece.

  • By social media I mean Twitter, Facebook, Snapchat, et al. Content is fast, abundant, easy. Ephemeral.
  • By blogs I mean recurrent long(er) form writing published under an individual’s fixed identity so you can get a sense of their commitment to (and understanding of) the ideas. Lots of people do this on Medium these days, although independent blogs (such as this one) still exist.
  • By periodicals I mean magazines, journals, and other venues for recurrent publishing under a branded (group) identity. They have more skin in the game than bloggers, and this gives them more credibility. Think of The New Yorker, The Economist, and Slate.
  • You know what books are. I’m partial to the ones still in active circulation 20+ years after they were first published; that’s the market’s way of filtering out the chaff.

Agora definidos, como se processam.

  • The layers move (and change) slower as you go down the stack;
  • The top layers are where we experiment with new ideas;
  • The bottom layers are where the worthwhile ones are reified;
  • Worthwhile ideas make their way down to the the lower layers.

Obviamente, a importância tende aos livros -

As you go down the stack, the signal-to-noise ratio improves.

If you’re looking to build your character, the best texts are the ones at the very bottom. Much of the stuff in the top layers is only good for raising your heart rate.
in "What Are You Reading?" 8 nov 2017

Uma definição que podemos complementar em próxima oportunidade.

for fun and profit


can u relate

E às vezes, a confirmação que não estamos sozinhos nisto. Cartoons, comics, web, for tha fun, $$$, jornais, até o graphic design é chamado à mistura.

A vossa atenção para Caleb Orecchio in "11/13/2017" 13 nov 2017 sff:

As the holidays approach, I’m thinking about how I’m going to lie to my family. I don’t talk about my comics in a serious way around them anymore. I just do them for fun, I tell them. That’s great! they say back.

Once I told an extended family member that I visited a comics syndicate in New York and showed them my comic strip. WOW - New York, that must’ve been exciting! Very much so. Did they except your strip? No - they said it was "too good" - like, it wasn’t simple enough - it’d be hard to sell to newspaper editors. The family member didn’t know what to say after that. That’s okay though, I tell them. I still make a comic strip every week day for a comics website. Oh cool - do they pay you? No. Again, they are speechless.

Then I get defensive like I have to protect my dignity or something because I assume they think I’m an idiot who doodles all day for no money. I just do comics for fun really, I tell them - I’m actually a freelance graphic designer. That’s great - how’s business, they ask? Great. I switch the subject to how good the food is.

The guy who does my taxes has a similar reaction to my comics making. He keeps telling me I should focus on my graphic design and try to expand. "Is there any money in comics?" he asks.

"There is at the newspaper syndicates - I’m going to keep trying until I get in."
"Who reads newspapers?"

Quem os lê, indeed.

Ou se calhar estamos mesmo sozinhos nisto. Não seria a primeira vez, não será a última.