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Submission: On July 30 via api from US — Scanned from NL
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MICROCOSM BYCHASE MCCOY
Show EverythingCreatorsSpaces By NameCountTime
1. ai 1
2. Ango, Stephan 1
3. api 2
4. Appleton, Maggie 1
5. Arment, Marco 1
6. Blanc, Shawn 1
7. blogging 8
8. branding 2
9. capitalism 1
10. Cegłowski, Maciej 1
11. Chang, Spencer 1
12. Chimero, Frank 3
13. Cocteau, Jean 1
14. community 3
15. Condor, Kicks 1
16. creativity 11
17. Critchlow, Tom 2
18. css 3
19. culture 2
20. design 13
21. Evans, Claire L. 2
22. film-and-tv 2
23. Flaubert, Gustave 1
24. history 5
25. Hoy, Amy 1
26. html 1
27. hypermedia 10
28. interfaces 10
29. javascript 2
30. Kleon, Austin 1
31. knowledge 4
32. Kottke, Jason 1
33. Krouse, Steve 1
34. Labacher, Christoph 1
35. Lancker, Willem Van 1
36. Leppert, Greg 1
37. love 2
38. Lu, Ryo 1
39. Matuschak, Andy 1
40. McCoy, Chase 1
41. Meadows, Donella H. 1
42. Mendelsund, Peter 1
43. Merton, Thomas 1
44. Mielke, Molly 1
45. Miller, Joe 1
46. Morrow, Lacy 1
47. music 1
48. pattern 1
49. Pieratt, Ben 1
50. privacy 1
51. productivity 1
52. prototyping 1
53. Ran, Aosheng 1
54. Rendle, Robin 2
55. research 3
56. Schmudde, David 1
57. Schwulst, Laurel 1
58. science 1
59. security 1
60. Shorin, Toby 1
61. Sloan, Robin 2
62. Smith, Noah 1
63. space 1
64. Sterne, Hedda 1
65. Suzanne, Miriam 1
66. systems 2
67. Tharp, Twyla 1
68. tools 6
69. typography 3
70. work 4
71. Wright, Hyrum 1
72. writing 4
73. www 15
74. Ziburski, Lennart 1
47 ENTRIES
* PINNED NOTES.CHASEM.CO
A Website by Chase McCoy
chasem.co
> This site is inspired by (and built from the source of!) Nick Trombley's
> excellent barnsworthburning.net. Huge thanks to Nick for doing his work in
> the open and letting others riff on it.
>
>
> WHAT IS THIS SITE?
>
> Microcosm is the digital garden and commonplace book of Chase McCoy.
>
>
> WHY IS IT CALLED MICROCOSM?
* CULTIVATE YOUR CRITICISMS
A Quote by Jean Cocteau
en.wikipedia.org
> Listen carefully to first criticisms made of your work. Note just what it
> is about your work that critics don't like - then cultivate it. That's the
> only part of your work that's individual and worth keeping.
* creativity
* work
* THOMAS MERTON ON LOVE
A Quote by Thomas Merton
en.wikipedia.org
From his book No Man is an Island
> The beginning of love is to let those we love be perfectly themselves, and
> not to twist them to fit our own image. Otherwise we love only the
> reflection of ourselves we find in them.
* love
* POINTING AT THINGS AND FALLING IN LOVE
An Article by Austin Kleon
austinkleon.com
> In his most recent newsletter, Oliver Burkeman suggests that people who
> want to make writing less hard should just think about showing people
> something that you’ve noticed. “Look, over there,” your writing should ask,
> “can you see?
>
> “When you write,” says Steven Pinker, “you should pretend that you, the
> writer, see something in the world that’s interesting, that you are
> directing the attention of your reader to that thing in the world, and that
> you are doing so by means of conversation.”
>
> It is the same for blogging, says Robin Rendle: “blogging is pointing at
> things and falling in love.” (I like his ordering: not falling in love and
> then pointing, but pointing and then falling in love. Loving something by
> paying attention to it.)
Show more
Connections
1. I see myself as a well-working lens...
* creativity
* blogging
* love
* I SEE MYSELF AS A WELL-WORKING LENS...
A Quote by Hedda Sterne
bombmagazine.org
> I see myself as a well-working lens, a perceiver of something that exists
> independently of me: don’t look at me, look at what I’ve found.
Connections
1. Pointing at things and falling in love
* creativity
* HOW THE BLOG BROKE THE WEB
An Article by Amy Hoy
stackingthebricks.com
> Here’s the crux of the problem: When something is easy, people will do more
> of it.
>
> When you produce your whole site by hand, from HEAD to /BODY, you begin in
> a world of infinite possibility. You can tailor your content exactly how
> you like it, and organize it in any way you please. Every design decision
> you make represents roughly equal work because, heck, you’ve gotta do it by
> hand either way. Whether it’s reverse chronological entries or a tidy table
> of contents. You might as well do what you want.
>
> But once you are given a tool that operates effortlessly — but only in a
> certain way — every choice that deviates from the standard represents a
> major cost.
>
> That’s what happened as Movable Type ate the blogosphere.
Show more
* blogging
* history
* www
* design
* hypermedia
* WRITING A WEBLOG FULL-TIME
An Article by Shawn Blanc
shawnblanc.net
> In a way, I have to pretend that I’m the only site out there. That if
> someone was interested in the things I’m interested in, how then would they
> find out about those things unless I wrote about them? I can’t pass by
> something I find exciting or interesting because I see that others are
> already talking about it. That would be a road to silence.
>
> Of course, in another way, I have to pretend that I am not the only site
> out there. There is so much happening in the tech / design / writing /
> coffee-drinking community every day that there is simply no way I can stay
> on top of it all. Let alone write thoughtful and in-depth pieces about
> everything noteworthy. Harder than choosing what to write about has been
> choosing what not to write about. And then being okay with leaving certain
> notable topics left untouched.
>
> At the end of the day, the best advice I can give myself is to: (a) put
> great care and thought into what I write about and how I write it; and (b)
> don’t take myself or my site too seriously.
Show more
Connections
1. Avoiding the blogger trap
2. Writing and lightness
* blogging
* writing
* creativity
* WWW: THE WAY WE WERE
An Article by Jason Kottke
kottke.org
Jason Kottke comments on the final episodes of Halt and Catch Fire.
> When I tell people about the first time I saw the Web, I sheepishly
> describe it as love at first sight. Logging on that first time, using an
> early version of NCSA Mosaic with a network login borrowed from my physics
> advisor, was the only time in my life I have ever seen something so
> clearly, been sure of anything so completely. It was a like a thunderclap —
> “the amazing possibility to be able to go anywhere within something that is
> magnificent and never-ending” — and I just knew this was for me and that it
> was going to be huge and important. I know how ridiculous this sounds, but
> the Web is the true love of my life and ever since I’ve been trying to live
> inside the feeling I had when I first saw it.
* www
* culture
* film-and-tv
* AVOIDING THE BLOGGER TRAP
An Article by Marco Arment
marco.org
> I don’t need to be an authority on anything. I don’t need you to agree with
> my arguments. I know this is probably too long, too broad, and too
> egotistical for the mass market to read, and you most likely skimmed over
> it. I wrote this just now, and I’m going to publish it now, even though
> it’s Sunday and it won’t see peak traffic. I don’t want to write top-list
> posts 10 times a day. I don’t want to be restricted to my blog’s subject or
> any advertisers’ target demographic. This site represents me, and I’m
> random and eccentric and interested in a wide variety of subjects.
Connections
1. Writing and lightness
2. Writing a Weblog Full-Time
* blogging
* creativity
* writing
* COMPUTERS AND CREATIVITY
An Essay by Molly Mielke
mollymielke.com
> Computers have, since their inception, been a rigid tool that the human
> user has had to adapt to use... However, through standardization,
> moldability, and abstraction, we can dramatically expand the utility of
> computers while broadening their capacity to help more people solve their
> problems creatively.
Show more
* history
* creativity
* research
* hypermedia
* tools
* design
* interfaces
* A 3-STEP PROCESS FOR NAMING A PROJECT/PRODUCT
An Article by Ben Pieratt
blog.pieratt.com
> Naming a project is always an awful experience. An earworm that won’t stop
> tapping your skull from the inside. A tenacious pop jingle with teeth and a
> paycheck.
>
>
> 3-STEP PROCESS
>
> Step 1.
> Identify the feeling you want the brand to convey. A great brand
> communicates on an emotional wavelength, so make that feeling your bedrock.
>
> One way to identify what feeling you’re pursuing is by figuring out what
> you’re not. A great brand is defined as much by what it is as by what it is
> not. So if you’re entering a certain market that is a certain way, identify
> that point of frustration and invert it. For instance, if your market is
> confusing, you could pursue ‘Relaxed’, or ‘Lucid’.
>
> Step 2.
> Embody that feeling in a list of persons, places, things or phrases (etc)
> that communicate viscerally.
>
> Step 3.
> Identify a detail that represents the [embodiment] of [your feeling] in a
> non obvious but compelling way.
>
> Repeat.
> New insights gained from the process should help you get a better handle on
> the unique feeling or value your brand has to offer.
>
> Ideally,
> the name should have a ‘special wrongness’* to it. An unforgettable
> newness. A new shape. 1+1=3. If your name lacks this, the product itself
> may have a hard time differentiating itself in whatever market you’re
> entering.
Show more
Connections
1. Special wrongness
2. Onym
* design
* creativity
* branding
* SPECIAL WRONGNESS
An Idea by Peter Mendelsund
portersquarebooksblog.blogspot.com
Viktor Bezic adds:
> Other examples that come to mind would be the wonkiness Herb Lubalin’s
> typefaces, the quirky art direction of a Wes Anderson movie, the humorous
> fine art drawings made by David Shrigley, or the blue collar nature of a
> Bukowski poem.
> There is a cool-factor to certain images that lie just on this side of
> disagreeable…pictorial effects that make me think “this will bother a lot
> of unimaginative people.” Whenever I see something like that, a piece of
> art or graphic design that has that special kind of wrongness about it, I
> think “I need to do something like this myself.” Attendant to this is
> always the feeling of “in the future, this will be done a lot.” In other
> words, today’s ugly is tomorrow’s beautiful.
Show more
Connections
1. A 3-step process for naming a project/product
* design
* THE WEB’S GRAIN
A Talk by Frank Chimero
frankchimero.com
> an edgeless surface of unknown proportions comprised of small, individual,
> and variable elements from multiple vantages assembled into a readable
> whole that documents a moment
>
> --------------------------------------------------------------------------------
>
> I believe every material has a grain, including the web. But this
> assumption flies in the face of our expectations for technology. Too often,
> the internet is cast as a wide-open, infinitely malleable material. We
> expect technology to help us overcome limitations, not produce more of
> them. In spite of those promises, we typically yield consistent design
> results.
>
> --------------------------------------------------------------------------------
>
> The web is forcing our hands. And this is fine! Many sites will share
> design solutions, because we’re using the same materials. The consistencies
> establish best practices; they are proof of design patterns that play off
> of the needs of a common medium, and not evidence of a visual monoculture.
>
> So this is a good start, but it is only a start. Could those simple sites I
> showed earlier assist us beyond the page and provide a larger way to think?
> To put a finer point on it: What would happen if we stopped treating the
> web like a blank canvas to paint on, and instead like a material to build
> with?
>
> --------------------------------------------------------------------------------
>
> Simply put, the edgelessness of the web tears down the constructed edges in
> the company. Everything is so interconnected that nobody has a clear domain
> of work any longer—the walls are gone, so we’re left to learn how to
> collaborate in the spaces where things connect.
>
> --------------------------------------------------------------------------------
>
> Remember the Hockney photos? The size of what we’re making is unknown until
> we know what we’re putting there. So, it’s better to come up with an
> arrangement of elements and assign them to a size, rather than the other
> way around. We need to start drawing, then put the box around it.
Show more
Connections
1. What Screens Want
* www
* design
* interfaces
* 𝓽𝓲𝓷𝔂 𝓲𝓷𝓽𝓮𝓻𝓷𝓮𝓽𝓼
A Website by Spencer Chang
tiny-inter.net
> A research inquiry, prototyping exploration, and budding internet
> collective that attempts to answer the question:
>
> How can we make the web more natural and human-first rather than computers
> or institutions? How do we wish to interact with the internet beyond
> "browsing?” How would we shape the internet and our container for
> inhabiting it (currently, our browsers) if they were our neighborhoods and
> homes?
Show more
* www
* community
* ONYM
A Website by Greg Leppert & Willem Van Lancker
guide.onym.co
> Onym is an on-going open source attempt to organize the best tools and
> resources for naming things.
>
> * Brainstorming
> * Vetting
> * Guides & Sprints
> * Etymologies
> * Cautionary Tales
> * Agencies & Services
Connections
1. A 3-step process for naming a project/product
* writing
* tools
* branding
* THE INTERNET WANTS TO BE FRAGMENTED
An Essay by Noah Smith
noahpinion.substack.com
> This is how we restore the old internet — not in its original form, but in
> its glorious, fragmented essence. People call Twitter an indispensable
> public space because it’s the “town square”, but in the real world there
> isn’t just one town square, because there isn’t just one town. There are
> many.
Show more
* www
* community
* CULTIVATING DEPTH AND STILLNESS IN RESEARCH
An Article by Andy Matuschak
andymatuschak.org
> As a deeply lonely teenager, I learned that I could earn others’ regard and
> become valued in a community by “doing cool stuff on the internet.” So,
> even today, my automatic response to these fears is to switch to an
> activity which produces some kind of visible output. Make a prototype,
> write up some notes, sketch a concept. These are appropriate behaviors at
> times, of course, but not when pursued as fearful substitutes for what I’m
> actually trying to do.
>
> --------------------------------------------------------------------------------
>
> Why is this so hard? Because you’re utterly habituated to steady
> progress—to completing things, to producing, to solving. When progress is
> subtle or slow, when there’s no clear way to proceed, you flinch away. You
> redirect your attention to something safer, to something you can do. You
> jump to implementation prematurely; you feel a compulsion to do more
> background reading; you obsess over tractable but peripheral details. These
> are all displacement behaviors, ways of not sitting with the problem.
> Though each instance seems insignificant, the cumulative effect is that
> your stare rarely rests on the fog long enough to penetrate it. Weeks pass,
> with apparent motion, yet you’re just spinning in place. You return to the
> surface with each glance away. You must learn to remain in the depths.
Show more
* research
* work
* productivity
* PRE-WAR STEEL ~ PRE-AI TEXT
A Tweet by Stephan Ango
twitter.com
> 1940s: the detonation of nuclear bombs contaminates nearly all steel on
> Earth, resulting in the need to scavenge low-radiation pre-war steel from
> sunken shipwrecks
>
> 2020s: ChatGPT contaminates content with synthetic text, resulting in the
> need to segregate pre-LLM sources
* ai
* history
* MY WEBSITE IS A SHIFTING HOUSE NEXT TO A RIVER OF KNOWLEDGE
An Article by Laurel Schwulst
thecreativeindependent.com
> My favorite aspect of websites is their duality: they’re both subject and
> object at once. In other words, a website creator becomes both author and
> architect simultaneously. There are endless possibilities as to what a
> website could be. What kind of room is a website? Or is a website more like
> a house? A boat? A cloud? A garden? A puddle? Whatever it is, there’s
> potential for a self-reflexive feedback loop: when you put energy into a
> website, in turn the website helps form your own identity.
>
> --------------------------------------------------------------------------------
>
> Artists excel at creating worlds. They do this first for themselves and
> then, when they share their work, for others. Of course, world-building
> means creating everything—not only making things inside the world but also
> the surrounding world itself—the language, style, rules, and architecture.
>
> This is why websites are so important. They allow the author to create not
> only works (the “objects”) but also the world (the rooms, the arrangement
> of rooms, the architecture!). Ideally, the two would inform each other in a
> virtuous, self-perfecting loop. This can be incredibly nurturing to an
> artist’s practice.
Show more
* www
* knowledge
* LACYMORROW/ALBUM-ART
A Tool by Lacy Morrow
github.com
> 💽 Fetch cover art for an artist or album
* music
* tools
* javascript
* WHAT SCREENS WANT
A Talk by Frank Chimero
frankchimero.com
> I think the grain of screens has been there since the beginning. It’s not
> tied to an aesthetic. Screens don’t care what the horses look like. They
> just want them to move. They want the horses to change.
>
> Designing for screens is managing that change. To put a finer head on it,
> the grain of screens is something I call flux.
>
> Flux is the capacity for change.
>
> Some examples:
>
> * Flux is changing the colors of your website at night, to customize for a
> different reading experience based on time.
> * It’s having some fun with a fashion lookbook if you know it’s mostly
> going to be seen on screens.
> * It’s building a responsive website for a little company.
> * It’s using movement to more clearly describe the steps of a complicated
> process.
Show more
Connections
1. Screen As Room: An Architectural Perspective on User Interfaces
2. The Web’s Grain
* design
* interfaces
* A DIFFERENT INTERNET
An Article by David Schmudde
schmud.de
> Today’s internet is largely shaped by a dialog between two ideas. One
> position considers personal data as a form of property, the opposing
> position considers personal data as an extension of the self. The latter
> grants inalienable rights because a person’s dignity - traditionally
> manifested in our bodies or certain rights of expression and privacy -
> cannot be negotiated, bought, or sold.
>
> --------------------------------------------------------------------------------
>
> What remains explicitly clear is the fact that folks are not gathering in
> the digital equivalent of parks and town squares, they are gathering in
> online centers of commerce. Our digital public spaces, often called
> “platforms,” are really purpose-built shopping malls.
Show more
* www
* community
* culture
* privacy
* FRANK CHIMERO ON THE COMMON TRAITS OF DESIGN WORK
A Quote by Frank Chimero
frankchimero.com
> All design work seems to have three common traits: there is a message to
> the work, the tone of that message, and the format that the work takes.
> Successful design has all three elements working in co-dependence to
> achieve a whole greater than the sum of the individual parts.
>
> from The Shape of Design
* design
* work
* GUSTAVE FLAUBERT ON WORK LIFE BALANCE
A Quote by Gustave Flaubert
en.wikipedia.org
> Be regular and orderly in your life, so that you may be violent and
> original in your work.
Connections
1. Twyla Tharpe on routines
* creativity
* work
* DONELLA MEADOWS ON SYSTEM BOUNDARIES
A Quote by Donella H. Meadows
donellameadows.org
> There are no separate systems. The world is a continuum. Where to draw a
> boundary around a system depends on the purpose of the discussion.
* systems
* HYRUM'S LAW
An Aphorism by Hyrum Wright
hyrumslaw.com
> With a sufficient number of users of an API, it does not matter what you
> promise in the contract: all observable behaviors of your system will be
> depended on by somebody.
* api
* systems
* A BRIEF HISTORY & ETHOS OF THE DIGITAL GARDEN
An Essay by Maggie Appleton
maggieappleton.com
> A garden is a collection of evolving ideas that aren't strictly organised
> by their publication date. They're inherently exploratory – notes are
> linked through contextual associations. They aren't refined or complete -
> notes are published as half-finished thoughts that will grow and evolve
> over time. They're less rigid, less performative, and less perfect than the
> personal websites we're used to seeing.
* knowledge
* www
* hypermedia
* history
* FUTURE FONTS
A Website at
futurefonts.xyz
> Where type designers sell fonts in progress
* typography
* design
* SCREEN AS ROOM: AN ARCHITECTURAL PERSPECTIVE ON USER INTERFACES
An Essay by Christoph Labacher
christophlabacher.com
> Even traditional user interfaces are fundamentally three-dimensional — the
> third dimension in this case being time — and in this regard, they are
> similar to films.
>
> --------------------------------------------------------------------------------
>
> I believe this is because the comparison to films misses a central property
> of interfaces that is so constitutive that it outweighs the other
> similarities: Agency — it is human action that is indispensable to an
> interface. Like visitors to a building, users of an interface are given the
> agency to choose their own path, to move through it at their own speed and
> discretion: to wander and to linger, to move swiftly and purposefully, or
> to explore. Another striking similarity is that interfaces are, like
> buildings, never experienced all at once, but piecemeal: screen by screen,
> or room by room. Only in the user’s mind are they shaped into a coherent
> entity, are seen as a uniform whole.
Show more
Connections
1. What Screens Want
* interfaces
* film-and-tv
* design
* QUOTEBACKS
A Tool by Tom Critchlow & Toby Shorin
quotebacks.net
> Quotebacks brings structured discourse to blogs and personal websites.
Connections
1. Transclusion
* blogging
* hypermedia
* www
* tools
* SCREENS, RESEARCH AND HYPERTEXT
A Website by Joe Miller
screensresearchhypertext.com
> Quotebacks makes it easy to reference content and create dialogue with
> other sites by turning snippets of text into elegant, self-contained
> blockquote components.
Show more
Connections
1. Transclusion
* hypermedia
* research
* TRANSCLUSION
A Definition at
en.wikipedia.org
> In computer science, transclusion is the inclusion of part or all of an
> electronic document into one or more other documents by hypertext
> reference. Transclusion is usually performed when the referencing document
> is displayed, and is normally automatic and transparent to the end user.
> The result of transclusion is a single integrated document made of parts
> assembled dynamically from separate sources, possibly stored on different
> computers in disparate places.
>
> Transclusion facilitates modular design: a resource is stored once and
> distributed for reuse in multiple documents. Updates or corrections to a
> resource are then reflected in any referencing documents. Ted Nelson coined
> the term for his 1980 nonlinear book Literary Machines, but the idea of
> master copy and occurrences was applied 17 years before, in Sketchpad.
Show more
Connections
1. Designing Synced Blocks
2. Semilattice
3. Screens, Research and Hypertext
4. Quotebacks
* pattern
* interfaces
* hypermedia
* knowledge
* DESIGNING SYNCED BLOCKS
A Case Study by Ryo Lu
ryo.lu
> What if the exact same information could live and breathe in multiple
> places? For example, if your company’s process for requesting time off
> changes, you’d probably have to find all the pages that mention the policy
> and manually update each of them.
>
> Synced Blocks changes that. Instead of going through and updating the
> process to request time off in every page it’s referenced, turning it into
> a Synced Block allows you to update it once and have those changes
> reflected everywhere. Even though it’s a simple idea, it opens up many
> possibilities for how information can be structured and shared.
Show more
Connections
1. Transclusion
* hypermedia
* interfaces
* design
* WHOMST STYLES?
An Article by Robin Sloan
robinsloan.com
> I think the whostyle makes a few arguments. Among them:
>
> * Text is more than a string of character codes. Its design matters,
> typography and layout alike; these things support (or subvert!) its
> affect, argument, and more.
> * The web should be more colorful and chaotic, along nearly every
> dimension. The past five years have brought a flood of new capabilities,
> hugely expressive — let’s use them!
> * Quoting is touchy, and anything you can do to cushion it with respect
> and hospitality is a plus.
Show more
Connections
1. Whostyles
* hypermedia
* typography
* www
* blogging
* WHOSTYLES
A Definition by Kicks Condor
kickscondor.com
> The 'whostyle' is a way of styling syndicated hypertext from other writers.
> This could be a quoted excerpt or a complete article. A feed reader could
> use a 'whostyle' to show a post without stripping all of its layout.
Connections
1. Whomst styles?
* css
* hypermedia
* blogging
* www
* CONTAINER QUERIES AND TYPOGRAPHY
An Article by Robin Rendle
robinrendle.com
> This stuff is beautiful to me, the perfect compliment to the CSS language.
> Container queries makes decades of typographic hacks irrelevant and so this
> kinda feels like the end of an era for me. I’m sure there are ten thousand
> other problems with CSS that I’m not aware of and a hundred amazing
> features coming in the near future but now my CSS bucket list is complete.
* css
* typography
* design
* TWYLA THARPE ON ROUTINES
A Quote by Twyla Tharp
twylatharp.org
> “My daily routines are transactional. Everything that happens in my day is
> a transaction between the external world and my internal world. Everything
> is raw material. Everything is relevant. Everything is usable. Everything
> feeds into my creativity. But without proper preparation, I cannot see it,
> retain it, and use it. Without the time and effort invested in getting
> ready to create, you can be hit by the thunderbolt and it’ll just leave you
> stunned.”
>
> from The Creative Habit
Connections
1. Gustave Flaubert on work life balance
* creativity
* SEARCHING FOR SUSY THUNDER
An Article by Claire L. Evans
theverge.com
> In the ’80s, Susan Headley ran with the best of them — phone phreakers,
> social engineers, and the most notorious hackers of the era. Then, she
> disappeared. Three decades later, Claire Evans attempts to track down the
> most dangerous woman with a landline.
* history
* security
* VAL.TOWN
A Product by Steve Krouse
val.town
Cloud functions as a web primitive.
> * Vals are JavaScript/TypeScript functions or values that run on our
> servers
> * Vals can be scheduled (like a cron job) or accessed via our API
> * Email yourself: console.email("message", "Subject Line")
> * Reference your vals: @me.foo + 1
> * Publish your vals for others to read & run: export const foo =
> * Reference others' vals: await @yourFriend.bar("hi")
> * Store state on your namespace: @me.fizz = "buzz"
> * cmd+enter to run
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Connections
1. Digital Bricolage & Web Foraging
* www
* tools
* javascript
* api
* interfaces
* DESKTOP NEO
A Concept design by Lennart Ziburski
desktopneo.com
> Neo is a conceptual desktop operating system interface that is built for
> todays people, needs and technologies. Visualized below are ideas that were
> designed to inspire and provoke discussions about the future of productive
> computing.
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Connections
1. Semilattice
* interfaces
* design
* SEMILATTICE
A Concept design by Aosheng Ran
semilattice.xyz
> Semilattice is a collection of system and interaction concepts for personal
> knowledge management tools.
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Connections
1. Desktop Neo
2. Transclusion
* interfaces
* knowledge
* tools
* design
* DIGITAL BRICOLAGE & WEB FORAGING
An Article by Tom Critchlow
tomcritchlow.com
> When I reflect on the various lines of inquiry that light me up, there’s
> one consistent theme: digital bricolage. Bricolage is “the skill of using
> whatever is at hand and recombining them to create something new.”
>
> This is truly a core guiding methodology to how I approach the web: as a
> composable, iterable, resilient thing. Something that invites creation,
> play and generative exploration.
Connections
1. val.town
* www
* creativity
* prototyping
* A YEAR OF NEW AVENUES
An Article by Robin Sloan
robinsloan.com
Framed in the context of the collapse of Twitter at the hands of Elon Musk.
> I want to insist on an amateur internet; a garage internet; a public
> library internet; a kitchen table internet. At last, in 2023, I want to
> tell the tech CEOs and venture capitalists: pipe down. Buzz off. Go fave
> each other’s tweets.
>
> --------------------------------------------------------------------------------
>
> It’s plain that neither the big tech companies nor the startup financiers
> are going to produce the “ways of relating” that will matter in the next
> decade. Almost by definition, any experiment that’s truly pathbreaking and
> provocative is too weird and tiny for them to suffer. They are trapped in
> their stupendous scale; lucky us.
>
> --------------------------------------------------------------------------------
>
> All along, from the frothy 1990s to the percolating 2000s to the frozen
> 2010s to today, the web has been the sure thing. All along, it’s been
> growing and maturing, sprouting new capabilities.
>
> --------------------------------------------------------------------------------
>
> Here are those avenues.
>
> 1. Try the new new new thing
> 2. Think deeply about discovery
> 3. Climb into an overlay
> 4. Go digging in the crates
> 5. Make a thing with which you can talk about the thing
> 6. Make exemplars before services
> 7. Work with the garage door open
> 8. Don't settle for Mastodon
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* www
* creativity
* WHY NOT MARS
An Article by Maciej Cegłowski
idlewords.com
> Wherever you stand on the matter, whether you’re a Musk fanboy, an
> unaligned Mars obsessive, or just biplanetary/curious, I invite you to come
> imagine with me what it would take, and what it would really mean, for
> people to go put their footprints in the Martian sand.
* space
* science
* WOMEN IN HYPERTEXT: ON JUDY MALLOY AND CATHY MARSHALL’S FORWARD ANYWHERE
An Article by Claire L. Evans
are.na
The 3 functions described here (forward, anywhere, and lines) speak to the
ways in which hypertext interfaces offer the user agency in exploring and
digesting information.
> Cathy gave up on the map, and the pair settled on a hypertext interface
> design drawing elements from Judy’s earlier work. In published form, the
> screens appear one at a time, driven by three functions: forward, anywhere,
> or lines. Forward moves through the screens in the order they were written.
> “This type of navigation simulates the process, and captures the mystery,”
> Cathy wrote. Anywhere calls up a screen at random. Cathy observed that this
> revealed their interconnectedness even more; “through new juxtapositions,
> the Anywhere function reveals unintended connections at the merging of our
> voices.” The final function, Lines, is an interactive tool for building new
> screens based on keywords, from a database version of the text. In each new
> composition it generates, the lines link back to their origins, creating
> paths through the work neither linear nor entirely random. These functions,
> which Judy had been exploring in literary “narrabases” and hypertext works
> like Uncle Roger, my name is scibe, and l0ve0ne since as early as 1986,
> resulted in a highly interactive text. Of the Lines function, Cathy writes,
> “this function adds a third voice to the work,” meaning the reader.
>
> The task of hypertext is not to manufacture connections, but to discover
> where they have always been. Hypertext researchers before the World Wide
> Web built systems to support this endless, sacred hunt for entanglement and
> hidden structure, as inherent to thought as ecosystems are to the natural
> world. Judy and Cathy marveled at their oddly linked lives, but we are all
> connected. Difference is only the unknown. For a database poet and a
> hypertext researcher, that much was obvious. Links are what is waiting to
> be found, by those with the patience to pull the threads: backwards,
> forwards, anywhere.
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* hypermedia
* interfaces
* WRITING AND LIGHTNESS
An Article by Robin Rendle
robinrendle.com
> That mythology (about writing having to be painful to be good) was
> attractive for a long time. Years ago I would hurl myself at the page until
> my back hurt and my fingers ached. I believed that physical pain and
> emotional torment would somehow translate into great work. And in the early
> days of writing the newsletter I would do the same: I wanted to sound like
> Hitchens or Orwell or Trent Reznor. I wanted to sound important and I
> wanted the writing to be sad.
Connections
1. Avoiding the blogger trap
2. Writing a Weblog Full-Time
* writing
* blogging
* THE WEB IS FUNDAMENTALLY ANTI-CAPITALIST
A Tweet by Miriam Suzanne
twitter.com
> Large companies find HTML & CSS frustrating “at scale” because the web is a
> fundamentally anti-capitalist mashup art experiment, designed to give
> consumers all the power.
* capitalism
* css
* html
* www