Tags: schemes

There’s a repeated catchphrase used throughout Christopher Nolan’s film Tenet: ignorance is our ammunition.

There are certainly situations where knowledge is regrettable. The somewhat-silly thought experiment of Roko’s basilisk is one example. Once you have knowledge of it, you can’t un-know it, and so you become complicit.

Or, to use another example, I think it was Jason who told me that if you want to make someone’s life miserable, just teach them about typography. Then they’ll see all the terrible kerning out there in the world and they won’t be able to un-see it.

I sometimes wish I could un-learn all I’ve learned about cryptobollocks (I realise that the term “cryptocurrency” is the more widely-used phrase, but it’s so inaccurate I’d rather use a clearer term).

I sometimes wish I could go back to having the same understanding of cryptobollocks as most people: some weird new-fangled technology thing that has something to do with “the blockchain.”

But I delved too deep. I wanted to figure out why seemingly-smart people were getting breathlessly excited about something that sounds fairly ludicrous. Yet the more I learned, the more ludicrous it became. Bitcoin and its ilk are even worse than the occassional headlines and horror stories would have you believe.

As Jules says:

The reason I have such a visceral reaction to crypto projects isn’t just that they’re irresponsibly designed and usually don’t achieve what they promise. It’s also that the thing they promise sounds like a fucking nightmare.

Or, as Simon responded to someone wondering why there was so much crypto hate:

We hate it because we understand it.

I have yet to encounter a crypto project that isn’t a Ponzi scheme. I don’t mean like a Ponzi scheme. I mean they’re literally Ponzi schemes: zero-sum racing to the bottom built entirely on the greater fool theory. The only difference between traditional Ponzi schemes and those built on crypto is that crypto isn’t regulated. Yet.

I recently read The Glass Hotel by Emily St. John Mandel, a novel with the collapse of a Ponzi scheme at its heart. In the aftermath of the scheme’s collapse, there are inevitable questions like “How could you not know?” The narrator answers that question:

It’s possible to both know and not know something.

I’ve been thinking about that a lot.

Clearleft recently took on a project that involves cryptobollocks. Just to be clear, the client is not a fly-by-night crypto startup. This is an established financial institution. It’s not like Mike’s shocking decision to join Kraken of all places.

But in some ways, the fact that this is a respected company almost makes it worse. It legitimises cryptobollocks. It makes it more likely for “regular” folk to get involved (and scammed).

Every Thursday we have an end-of-week meeting and get a summary of how various projects are going. Every time there’s an update about the cryptobollocks project, my heart sinks. By all accounts, the project is going well. That means smart and talented people are using the power of design to make the world a little bit worse.

What will the metrics of success be for this project? Will success be measured by an increase in the amount of Bitcoin trading? I find it hard to see how that can possibly be called successful.

And I haven’t even mentioned the environmental impact of proof-of-work.

Right now, Clearleft is in the process of trying to become a B corp. It’s a long process that involves a lot of box-ticking to demonstrate a genuine care for the environment. There’s no checkbox about cryptobollocks. And yet the fact that we might enable even a few transactions on a proof-of-work blockchain makes a complete mockery of all of our sustainability initiatives.

This is why I wish I could un-know what I know. I wish I could just hear the project updates and say, “Crypto? Don’t know much about it.” But I can’t.

For seventeen years, I’ve felt nothing but pride in the work that Clearleft has done. I’d happily talk about any one of the case studies we’ve worked on. Even on projects that didn’t pan out as expected, or that had all sorts of tricky complications, the work has always been second-to-none. To quote the Agile prime directive:

Everyone did the best job they could, given what they knew at the time, their skills and abilities, the resources available, and the situation at hand.

Now, for the first time, I can’t get past that phrase “what they knew at the time.” On the one hand, I’m sure that when they started this project, none of my colleagues knew quite how damaging cryptobollocks is. On the other hand, the longer the project goes on, the harder it is to maintain that position.

It’s possible to both know and not know something.

This is a no-win situation. If the project goes badly, that’s not good for Clearleft or the client. But if the project goes well, that’s not good for the world.

There’s probably not much I can do about this particular project at this point. But I can at least try to make sure that Clearleft doesn’t take on work like this again.

Letter in Support of Responsible Fintech Policy

A well-written evisceration of cryptobollocks signed by Bruce Scheier, Tim Bray, Molly White, Cory Doctorow, and more.

If you’re a concerned US computer scientist, technologist or developer, you’ve got till June 10th to add your signature before this is submitted to congress.

Web3 - creating problems where we need solutions on Vimeo

This is a great talk from Laura that clearly explains what web3 actually is. It pairs nicely with Molly White’s wb3 is going just great (speaking of which, Casey Newton interviewed Molly White about the site recently).

It’s not still the early days

If you’re interested in so-called web3, you should definitely follow Molly White.

How long can it possibly be “early days”? How long do we need to wait before someone comes up with an actual application of blockchain technologies that isn’t a transparent attempt to retroactively justify a technology that is inefficient in every sense of the word? How much pollution must we justify pumping into our atmosphere while we wait to get out of the “early days” of proof-of-work blockchains? How many people must be scammed for all they’re worth while technologists talk about just beginning to think about building safeguards into their platforms? How long must the laymen, who are so eagerly hustled into blockchain-based projects that promise to make them millionaires, be scolded as though it is their fault when they are scammed as if they should be capable of auditing smart contracts themselves?

The more you think about it, the more “it’s early days!” begins to sound like the desperate protestations of people with too much money sunk into a pyramid scheme, hoping they can bag a few more suckers and get out with their cash before the whole thing comes crashing down.

Crypto: the good, the bad and the ugly | Seldo.com

A very even-handed and level-headed assessment by Laurie, who has far more patience than me when it comes to this shit.

Washed Up - Infrequently Noted

The term “web3” is a transparent attempt to associate technologies diametrically opposed to the web with its success; an effort to launder the reputation of systems that have most effectively served as vehicles for money laundering, fraud, and the acceleration of ransomware using the good name of a system that I help maintain.

Perhaps this play to appropriate the value of the web is what it smells like: a desperate move by bag-holders to lure in a new tranche of suckers, allowing them to clear speculative positions. Or perhaps it’s honest confusion. Technically speaking, whatever it is, it isn’t the web or any iteration of it.

A not so gentle intro to web3 | Koos Looijesteijn

Web3 is like a combination of pyramid schemes, scientology and Tamagotchi. There’s the fact that ultimately anything you do on blockchains costs you real money and that once you’ve paid that, you’re one of the people who need to get the next cohort of buyers onboard or lose your money. There’s believing that you’re joining a movement that’s in the know, with all kinds of interesting words and sci-fi stuff that normies just don’t understand. And there’s your portfolio, your pretty JPGs, wallets, apps and everything you spent so much time on understanding and maintaining. Good luck avoiding sunk cost fallacy there.

Found Color schemes for web and UI

Accidental colour palettes captured in the wild.

I added a dark mode to my website a while back. It was a fun thing to do during Indie Web Camp Amsterdam last year.

I tied the colour scheme to the operating system level. If you choose a dark mode in your OS, my website will adjust automatically thanks to the prefers-color-scheme: dark media query.

But I’ve seen notes from a few friends, not about my site specifically, but about how they like having an explicit toggle for dark mode (as well as the media query). Whenever I read those remarks, I’d think “I’m really not sure I’ve got time to deal with adding that kind of toggle to my site.”

But then I realised, “Jeremy, you absolute muffin! You’ve had a theme switcher on your website for almost two decades now!”

Doh! I had forgotten about that theme switcher. It dates back to the early days of CSS. I wanted my site to be a demonstration of how you could apply different styles to the same underlying markup (this was before the CSS Zen Garden came along). Those themes are very dated now, but if you like you can view my site with a Zeldman theme or a sci-fi theme.

To offer a dark-mode theme for my site, all I had to do was take the default stylesheet, pull out the custom properties from the prefers-color-scheme: dark media query, and done. It took less than five minutes.

So if you want to view my site in dark mode, it’s one of the options in the “Customise” dropdown on every page of the website.

I had a very productive time at Indie Web Camp Amsterdam. The format really lends itself to getting the most of a weekend—one day of discussions followed by one day of hands-on making and doing. You should definitely come along to Indie Web Camp Brighton on October 19th and 20th to experience it for yourself.

By the end of the “doing” day, I had something fun to demo—a dark mode for my website.

Y’know, when I first heard about Apple adding dark mode to their OS—and also to CSS—I thought, “Oh, great, Apple are making shit up again!” But then I realised that, like user style sheets, this is one more reminder to designers and developers that they don’t get the last word—users do.

Applying the dark mode styles is pretty straightforward in theory. You put the styles inside this media query:

@media (prefers-color-scheme: dark) {
...
}

Rather than over-riding every instance of a colour in my style sheet, I decided I’d do a little bit of refactoring first and switch to using CSS custom properties (or variables, if you will).

:root {
  --background-color: #fff;
  --text-color: #333;
  --link-color: #b52;
}
body {
  background-color: var(--background-color);
  color: var(--text-color);
}
a {
  color: var(--link-color);
}

Then I can over-ride the custom properties without having to touch the already-declared styles:

@media (prefers-color-scheme: dark) {
  :root {
    --background-color: #111416
    --text-color: #ccc;
    --link-color: #f96;
  }
}

All in all, I have about a dozen custom properties for colours—variations for text, backgrounds, and interface elements like links and buttons.

By using custom properties and the prefers-color-scheme media query, I was 90% of the way there. But the devil is in the details.

I have SVGs of sparklines on my homepage. The SVG has a hard-coded colour value in the stroke attribute of the path element that draws the sparkline. Fortunately, this can be over-ridden in the style sheet:

svg.activity-sparkline path {
  stroke: var(--text-color);
}

The real challenge came with the images I use in the headers of my pages. They’re JPEGs with white corners on one side and white gradients on the other.

I could make them PNGs to get transparency, but the file size would shoot up—they’re photographic images (with a little bit of scan-line treatment) so JPEGs (or WEBPs) are the better format. Then I realised I could use CSS to recreate the two effects:

1. For the cut-out triangle in the top corner, there’s clip-path.
2. For the gradient, there’s …gradients!

background-image: linear-gradient(
  to right,
  transparent 50%,
  var(—background-color) 100%
);

Oh, and I noticed that when I applied the clip-path for the corners, it had no effect in Safari. It turns out that after half a decade of support, it still only exists with -webkit prefix. That’s just ridiculous. At this point we should be burning vendor prefixes with fire. I can’t believe that Apple still ships standardised CSS properties that only work with a prefix.

In order to apply the CSS clip-path and gradient, I needed to save out the images again, this time without the effects baked in. I found the original Photoshop file I used to export the images. But I don’t have a copy of Photoshop any more. I haven’t had a copy of Photoshop since Adobe switched to their Mafia model of pricing. A quick bit of searching turned up Photopea, which is pretty much an entire recreation of Photoshop in the browser. I was able to open my old PSD file and re-export my images.

Let’s just take a moment here to pause and reflect on the fact that we can now use CSS to create all sorts of effects that previously required a graphic design tool like Photoshop. I could probably do those raster scan lines with CSS if I were smart enough.

This is what I demo’d at the end of Indie Web Camp Amsterdam, and I was pleased with the results. But fate had an extra bit of good timing in store for me.

The very next day at the View Source conference, Melanie Richards gave a fantastic talk called The Tailored Web: Effectively Honoring Visual Preferences (seriously, conference organisers, you want this talk on your line-up). It was packed with great insights and advice on impementing dark mode, like this little gem for adjusting images:

@media (prefers-color-scheme: dark) {
  img {
    filter: brightness(.8) contrast(1.2);
  }
}

Melanie also pointed out that you can indicate the presence of dark mode styles to browsers, although the mechanism is yet to shake out. You can do it in CSS:

:root {
  color-scheme: light dark;
}

But you can also do it in HTML:

That allows browsers to swap out replaced content; interface elements like form fields and dropdowns.

Oh, and one other addition I added after the fact was swapping out map imagery by using the picture element to point to darker map tiles:

<picture>
<source media="(prefers-color-scheme: dark)" srcset="https://api.mapbox.com/styles/v1/mapbox/dark-v10/static...">
<img src="https://api.mapbox.com/styles/v1/mapbox/outdoors-v10/static..." alt="map">
</picture>

So now I’ve got a dark mode for my website. Admittedly, it’s for just one of the eight style sheets. I’ve decided that, while I’ll update my default styles at every opportunity, I’m going to preservethe other skins as they are, like the historical museum pieces they are.

If you’re on the latest version of iOS, go ahead and toggle the light and dark options in your system preferences to flip between this site’s colour schemes.

Four Cool URLs - Alex Pounds’ Blog

A fellow URL fetishest!

I love me a well-designed URL scheme—here’s four interesting approaches.

URLs are consumed by machines, but they should be designed for humans. If your URL thinking stops at “uniquely identifies a page” and “good for SEO”, you’re missing out.