1. This is a text post

    licences.xml

    JavaScript libraries and CSS frameworks are very popular these days. With each library, plugin, extension and template, comes another licencing statement. For most of these licences (MIT, for instance), you must include the licence statement in order to be able to use the code. In many cases, you also have to provide the original source and your own modifications. While, for uncompiled technologies such as these, this is a trivial matter, both this requirement and that of including the licence are awkward to implement if you like to minify your code. The licence is usually kept in an uncompressed comment at the top of the library (the YUI compressor specifically takes this into account with comments marked /*! */ ) and, although anyone can read your modifications to whatever you've used, post-minification code is much harder to follow (cf. three of my last four blog posts) and is really not 'in the spirit' of sharing your code.

    I'd like to be able to bundle all the licences and sources together outside the production files. Somewhere the interested user would be able to look them up if they liked but not somewhere that would automatically be downloaded on a standard visit. To that end, I have looked around for an established standard for this and not found anything. If you know of one, please let me know. Until I do find a good standard, here's my suggestion – a simple XML file located at /licences.xml in the format outlined below. It contains details of the file the licence pertains to, the uncompressed source (optional), the title of the licence and a URL where the full licence text can be found (on opensource.org or creativecommons.org, for instance). It also includes a (probably superfluous) shortname for the licence. I might remove that bit. You can optionally include this meta in your HTML if you want an explicit link between your source and the licence file:

    <meta name="licences" value="/licences.xml" />

    I'm currently undecided as to whether to go with XML or JSON. They're fairly interchangeable (barring XML attributes) but JSON takes less space. Then again, there's not as much need to save space in this file. Anyone have any recommendations? The entire format is, of course, up for discussion. Have I forgotten anything? Have I included anything unnecessary? I'm going to start using this in my projects until someone points out some major legal problem with it, I think.

    XML

     
    <licences>
     <licence>
      <source>
       <url>
        /includes/script/jquery/1.4/jquery.min.js
       </url>
       <uncompressed>
        /includes/script/jquery/1.4/jquery.js
       </uncompressed>
      </source>
      <deed>
       <title>
       MIT License
       </title>
       <url>
        http://www.opensource.org/licenses/mit-license.php
       </url>
       <shortform>
       MIT
       </shortform>
      </deed>
     </licence>
     <licence>
      <source>
       <url>
        /includes/script/custom/0.1/custom.js
       </url>
       <uncompressed>
        /includes/script/custom/0.1/custom.min.js
       </uncompressed>
      </source>
      <deed>
       <title>
       Attribution Share Alike
       </title>
       <url>
        http://creativecommons.org/licenses/by-sa/3.0
       </url>
       <shortform>
       cc by-sa
       </shortform>
      </deed>
     </licence>
    </licences>
    

    JSON

     
    {
     licences:{
      {
       source:{
        url:'/includes/script/jquery/1.4/jquery.min.js',
        uncompressed:'/includes/script/jquery/1.4/jquery.js'
       },
       deed:{
        title:'MIT License',
        url:'http://www.opensource.org/licenses/mit-license.php',
        shortform:'MIT'
       }
      },
      {
       source:{
        url:'/includes/script/custom/0.1/custom.min.js',
        uncompressed:'/includes/script/custom/0.1/custom.js'
       },
       deed:{
        title:'Attribution Share Alike',
        url:'http://creativecommons.org/licenses/by-sa/3.0',
        shortform:'cc by-sa'
       }
      }
     }
    }
    

    Comments

  2. This is a text post

    Maze 1k

    Okay, this is the last one for a while. Really.

    Unlike my previous 1k JavaScript demos, I really had to struggle to get this one into the 1024 byte limit. I'd already done all the magnification and optimization techniques I knew of so I had to bring in some things which were new to me from qfox.nl and Ben Alman and a few other places. This, combined with some major code refactoring, brought it down from 1.5k to just under 1. In the process, all possible readability was lost so here's a quick run through what it does and why.

    First up, a bunch of declarations.

    These are the colours used to draw the maze. Note, I used the shortest possible way to write each colour (red instead of #F00, 99 instead of 100). The value stored in the maze array (mentioned later) refers not only to the type of block it is but also to the index of the colour in this array, saving some space.

    u = ["#eff", "red", "#122", "rgba(99,255,99,.1)", "#ff0"],

    This is used for the number of blocks wide and high the maze is, the number of pixels per block, the size of the canvas and the redraw interval. Thanks to Ben Alman for pointing out in his article how to best use a constant.

     c = 21,

    Here is the reference to the canvas. Mid-minification, I did have a bunch of function shortcuts here - r=Math.random, for instance - but I ended up refactoring them out of the code.

    m = document.body.children[0];

    For most of the time when working on this, the maze was wider than it was high because I thought that made a more interesting maze. When it came down to it, though, it was really a matter of bytesaving to drop the distinct values for width and height. After that, we grab the canvas context so we can actually draw stuff.

    m.width = m.height = c * c;
    h = m.getContext("2d");

    The drawing function

    The generation and solution algorithm is quite nice and all but without this to draw it on the screen, it's really just a mathematical curio. This takes a colour, x and y and draws a square.

    l = function (i, e, f) {
      h.fillStyle = i;
      h.fillRect(e * c, f * c, c, c)
    };

    Designing a perfect maze

    "You've got 1 minute to design a maze it takes 2 minutes to solve."
    - Cobb, Inception.

    Apologies for the unnecessary Inception quote. It's really not relevant.

    Algorithmically, this is a fairly standard perfect maze generator. It starts at one point and randomly picks a direction to walk in then it stops picks another random direction and repeats. If it can't move, it goes back to the last choice it made and picks a different direction, if there are no more directions, all blocks have been covered and we're done. In a perfect maze, there is a path (and only one path) between any two randomly chosen points so we can make the maze then denote the top left as the start and the bottom right as the end. This particular algorithm takes 2 steps in every direction instead of 1 so that we effectively carve out rooms and leave walls. You can take single steps but it's actually more of a hassle.

    For more on how this kind of maze-generation works, check out this article on Tile-based maze generation.

    Blank canvas

    This is a standard loop to create a blank maze full of walls with no corridors. The 2 represents the 'wall' block type and the colour #122. The only really odd thing about this is the code f-->0 which is not to be read 'as f tends to zero' but is instead 'decrement f by 1, is it greater than zero?'

    g = function () {
      v = [];  //our stack of moves taken so we can retrace our steps.
      for (i = [], e = c; e-- > 0;) {
        i[e] = [];
        for (f = c; f-- > 0;) i[e][f] = 2
      }

    By this point, we have a two-dimensional JavaScript array filled with 2s

    Putting things in

      f = e = 1;    // our starting point, top left.
      i[e][f] = 0; // us, the zippy yellow thing

    Carving out the walls

    This is our first proper abuse of the standard for-loop convention. You don't need to use the three-part structure for 'initialize variable; until variable reaches a different value; change value of variable'. It's 'do something before we start; keep going until this is false; do this after every repetition' so here we push our first move onto the stack then repeat the loop while there's still a move left on the stack.

      for (v.push([e, f]); v.length;) {

    P here is the list of potential moves from our current position. For every block, we have a look to see what neighbours are available then concatenate that cardinal direction onto the strong of potential moves. This was originally done with bitwise flags (the proper way) but it ended up longer. It's also a bit of a nasty hack to set p to be 0 instead of "" but, again, it's all about the bytes.

      p = 0;

    Can we walk this way?

    These are all basically the same and mean 'if we aren't at the edge of the board and we're looking at a wall, we can tunnel into it.'.

     if (e < 18 && i[e + 2][f] == 2) p += "S"
     if (e >= 2 && i[e - 2][f] == 2) p += "N";
     if (f >= 2 && i[e][f - 2] == 2) p += "W";
     if (i[e][f + 2] == 2) p += "E";
    
     if (p) { //    If we've found at least one move
      switch (p[~~ (Math.random() * p.length)]) { // randomly pick one

    If there was anything to note from that last chunk, it would be that the operator ~~ can be used to floor the current value. It will return the integer below thye current value.

    Take two steps

    This is a nice little hack. Because we're moving two spaces, we need to set the block we're on and the next one to be 0 (empty). This takes advantage of the right-associative unary operator 'decrement before' and the right associativity of assignment operators. It subtracts 1 from e (to place us on the square immediately above) then sets that to equal 0 then subtracts 1 from the new e (to put us on the next square up again) and sets that to equal the same as the previous operation, i.e. 0.

      case "N":
          i[--e][f] = i[--e][f] = 0;
          break;

    Do the same for s, w and e

        case "S":
          i[++e][f] = i[++e][f] = 0;
          break;
        case "W":
          i[e][--f] = i[e][--f] = 0;
          break;
        case "E":
          i[e][++f] = i[e][++f] = 0
        }

    Whichever move we chose, stick that onto the stack.

        v.push([e, f])

    If there were no possible moves, backtrack

      } else {
        b = v.pop(); //take the top move off the stack
        e = b[0]; // move there
        f = b[1]
      }
     }

    End at the end

    At the very end, set the bottom right block to be the goal then return the completed maze.

      i[19][19] = 1;
      return i
    };

    Solver

    This is the solving function. Initially, it used the same algorithm as the generation function, namely 'collect the possible moves, randomly choose one' but this took too much space. So instead it looks for spaces north, then south, then west, then east. It follows the first one it finds.

    s = function () {

    Set the block type of the previous block as 'visited' (rgba(99,255,99,.1) the alpha value makes the yellow fade to green).

      n[o][y] = 3;

    A bit of ternary background

    This next bit looks worse than it is. It's the ternary operator nested several times. The ternary operator is a shorthand way of writing:

    if ( statement A is true ) {
      Do Action 1
    } else {
      Do Action 2
    }

    In shorthand, this is written as:

    Statement A ? Action 1 : Action 2;

    In this, however, I've replace Action 2 with another ternary operator:

    Statement A ? Action 1 : ( Statement B ? Action 2 : Action 3 );

    And again, and again. Each time, it checks a direction, if it's empty, mark it as visited and push the move onto our stack.

    (n[o + 1][y] < 2) ?
      (n[++o][y] = 0, v.push([o, y])) :
        (n[o - 1][y] < 2) ?
          (n[--o][y] = 0, v.push([o, y])) :
            (n[o][y - 1] < 2) ?
              (n[o][--y] = 0, v.push([o, y])) :
                (n[o][y + 1] < 2) ?
                  (n[o][++y] = 0, v.push([o, y])) :

    If none of the neighbours are available, backtrack

                    (b = v.pop(), o = b[0], y = b[1]);

    Show where we are

    Finally, set our new current block to be yellow

      n[o][y] = 4;

    Are we there yet?

    If we are at the bottom right square, we've completed the maze

      if (o == 19 && y == 19) {
      n = g();    //Generate a new maze
      o = y = 1; //Move us back to the top right
      s()     //Solve again

    If we haven't completed the maze, call the solve function again to take the next step but delay it for 21 milliseconds so that it looks pretty and doesn't zip around the maze too fast.

      } else setTimeout(s, c);

    Paint it black. And green. And yellow.

    This is the code to render the maze. It starts at the top and works through the whole maze array calling the painting function with each block type (a.k.a. colour) and position.

        for (d in n) for (a in n[d]) l(u[n[d][a]], a, d)
      };

    Start

    This is the initial call to solve the maze. The function s doesn't take any arguments but by passing these in, they get called before s and save a byte that would have been used if they had been on a line themselves.

    s(n = g(), o = y = 1)

    Done

    This little demo isn't as visually appealing as the Art Maker 1k or as interactive as the Spinny Circles 1k but it is quite nice mathematically. There are now some astounding pieces of work in the JS1K demo competition, though. I do recommend spending a good hour playing about with them all. Don't, however, open a bunch of them in the background at the same time. Small code isn't necessarily memory-efficient and you could quite easily grind your computer to a standstill.

    Comments

  3. This is a text post

    Art Maker 1K

    Even though the rules for js1k only let me make one submission, I couldn't stop myself making another. This one is inspired by those pseudo-romantic pictures that you get all over tumblr that get reblogged endlessly (actually, it was inspired by the blog That Isn't Art by someone with the same opinion as myself).

    It randomly creates a sentence, adds some softly-moving almost bokeh coloured-circles and look, I made an art! Wait for the sentence to change or click (or touch) to change it yourself.

    Art Maker 1k

    And of course, don't forget the original spinny-circles 1k

    Comments

  4. This is a text post

    The quest for Extreme JavaScript Minification

    As described in detail previously, I've recently taken part in the JS1K competition where you have to squeeze something cool and clever into 1024 bytes of JavaScript. The quest to condense has become quite addictive and I found myself obsessing over every byte. This is the kind of stuff that the Closure Compiler does quite well automatically but there are some cases where you just need to get in there and manually tweak.

    Here are some of the tricks I've picked up in my struggle for extreme minification:

    Basic improvements

    Use short variable names.

    This one's fairly obvious. A more useful addition to this is:

    Shorten long variable names.

    If you're going to be accessing an element more than once, especially if it's a built-in element like 'document', you'll save a few bytes every time you reference it if you create a shortened reference to it.

      document.body.style.overflow="hidden"
      document.body.style.background="red"
      (74 characters)
    

    can shorten to

      d=document;b=d.body;s=b.style;
      s.overflow="hidden";
      s.background="red"
      (69 characters)
    

    and any references to s after are going to save 19 characters every time.

    Remove whitespace

    This one's so obvious, I don't need to mention it.

    Set Interval

    The extremely handy setInterval function can take either a function or a string. If you give it an anonymous function declaration:

      setInterval(function(){x++;y--},10);
    

    You will use up more characters than if you give it just the inside of the function as a string:

      setInterval('x++;y--',10);
    

    But the outcome will be the same.

    Little-used aspects

    Not many people use JavScript's scientific notation unless they're doing scientific stuff but it can be a great byte saver. The number 100 is equivalent to 1 * 10^2 which is represented in JavaScript as 1E2. That's not a great saving for 100 but 1000 is 1E3, 10000 is 1E4. Every time you go up a factor of 10, you save 1 byte.

    Fight your good style tendencies

    In the war against space, you have to bite the bullet and accept that you may need to sacrifice some of your hard-earned practices. But only this once. Don't get in to the habit, okay?

    No zeroes

      0.5  = .5
    

    Yeah, it looks ugly but it works and saves a byte.

    Naked clauses

      if {
        :
        :
      } else y
    

    The y looks so naked out there. No braces to keep it warm. But if you only have one statement in your else clause, you don't need them...

    No semi-final. . . final-semi. . . Semi-colon. No final colon.

    You don't need a semi-colon on your last line, even if it does make it look as though you've stunted its growth.

    The final few bytes

    Operator precedence

    You don't need brackets. Brackets are handy for you as the programmer to remember what's going on when and to reduce ambiguity but if you plan correctly, most of the time you won't need brackets to get your arithmetic to work out.

      b.getMilliseconds()/(a*250) 
          is the same as
      b.getMilliseconds()/a/250 
    

    Shorthand notation

      l=l+1;l=l%14;
      l++;l%=14;
      l=++l%14;
    

    The three lines above are equivalent and in order of bytes saved.

    Shorthand CSS

    If you need to set some CSS values in your script, remember to pick the most appropriate short form. Instead of s.background='black', use s.background='#000' but instead of s.background='#F00', use s.background='red'. In the same vein, the statements margin="0px" and margin=0 mean the same but the latter saves bytes.

    Don't be generic

    One final thing to mention is that these little challenges are not the norm. If you find yourself trying to squeeze code down like this you're probably working on a very specific project. Use that to your advantage and see if there are any savings to be made by discarding your usual policies on code reuse. In the JS1K challenge, we're provided with a specific HTML page and an empty script tag. One good saving made here (and mentioned in my previous post) was the way I grabbed the reference to the canvas element. The standard method is to use the id assigned to the canvas.

      d.getElementById('c')
    

    Which is a good generic solution. No matter what else was on the page, no matter what order stuff was in, this would return the canvas. However, we have a very specific case here and the canvas is always going to be in the same place - the first child of the body element. That means we can do this instead:

      b.children[0]
    

    This makes use of the reference we grabbed to the body earlier. If the page were rearranged, this would stop working but as it won't, we've saved 8 bytes.

    In conclusion

    Yes, this is all quite silly but it's also fun and tricky. Attempting these kinds of challenges keep us developers mindful of what it is we actually do and that makes it an extremely productive silly hobby.

    Comments

  5. This is a text post

    Elementally, my dear JavaScript

    The Angry Robot Zombie Factory launched its second iPhone/iPad app . I haven't mentioned it much yet because I spotted a minor typo in the final version after it had been approved so I submitted an update immediately. To get an early copy (like those misprinted stamps where the plane is upside down), go check out The Elementals. It's free, too. It's a simple, cartoonish periodic table.

    Yesterday, the 1k JavaScript demo contest (#js1k) caught my eye. The idea is to create something cool using 1024bytes of JavaScript or less. I rootled around in the middle of The Elementals, grabbed the drawing function and 20 minutes later had made my entry.

    The code I submitted is quite minified but isn't obfuscated. When it's unfolded, you can follow the flow fairly easily.

    var d = document,
    b = d.body,
    s = b.style,
    w = innerWidth,
    h = innerHeight,
    v = b.children[0],
    p = 2 * Math.PI,
    Z = 3,
    x = tx = w / 2,
    y = ty = h / 2;
    

    The above is a bunch of declarations. Using things like d = document and b = d.body allows reuse later on without having to resort to the full document.body.style and saves a bunch of characters. When you've got such a small amount of space to play with, every character counts (mind you, the ZX81 only had 1k of RAM and look what you could do with that). Now that I'm looking at it, I think I could have tidied this a bit more. Darn. The sneaky bit about this code is the way we grab the reference to the canvas. The code d.getElementById('c') uses 21 characters but if we look at the provided HTML, we can use the fact that the canvas is the first child of the body element. The code b.children[0] uses 13 characters instead.

    s.margin = "0px";
    s.background = "black";
    s.overflow = "hidden";
    v.width = w;
    v.height = h;
    t = v.getContext("2d");
    

    This sets the provided canvas to be the full width and height of the window then grabs the drawing context of it so we can make pretty pictures.

    zi = function () {
     Z++;
     Z %= 14
    };
    m = function (X) {
     return (X * 200) % 255
    };
    

    Functions to be reused later. zi increases the number of spinning circles and is used by onmousedown and ontouchstart (oh yes, it works on the iPad, too). m is a mapping of the index of the circle to a colour. The 200 is arbitrary. I played about a bit until I found some colour combinations I liked.

     d.ontouchstart = function (e) {
     zi();
     tx = e.touches[0].pageX;
     ty = e.touches[0].pageY
    };
    d.onmousemove = function (e) {
     tx = e.clientX;
     ty = e.clientY
    };
    d.onmousedown = zi;
    

    Setting the event handlers.

    function r() {
     t.globalCompositeOperation = 'lighter';
    

    I played about with the various composite operations. Lighter seemed the nicest.

     t.clearRect(0, 0, w, h);
     t.save();
     x = x + (tx - x) / 20;
     y = y + (ty - y) / 20;
     t.translate(x, y);
    

    Originally, the circles followed the mouse pointer exactly but it lacked any life. By adding in this bit where the movement is delayed as if pulling against friction, it suddenly became a lot more fun and dynamic.

     var c = new Date();
     for (var i = 1; i <= Z; i++) {
      t.fillStyle = 'rgba(' + m(i) * (i % 3) + ', ' + m(i) * ((i + 1) % 3) + ',' + m(i) * ((i + 2) % 3) + ', 0.5)';
      t.beginPath();
      t.rotate((c.getSeconds() + i) / (i / 4) + (c.getMilliseconds()) / ((i / 4) * 1000));
      t.translate(i, 0);
      t.arc(-10 - (Z / 5), -10 - +(Z / 5), 100 - (Z * 3), 0, p, false);
      t.fill()
     }
    

    Erm. Yeah. In essence, all this does is figure out where to draw the circles, how big and what colour. It looks worse than it is. Line-by-line, it translates to:

    1. Find out the current time
    2. For each circle we want to draw,
    3. Pick a colour based on the index of the circle
    4. Start drawing
    5. Turn by some amount based on the time and the index
    6. Move by a small amount based on the index
    7. Actually draw, making the circles smaller if there are more of them.
    8. Fill in the circle with the colour.
    9. Right curly bracket.
     t.save();
     t.fillStyle = "white";
     for (var i = 1; i <= Z; i++) {
      t.beginPath();
      t.rotate(2);
      t.translate(0, 28.5);
      t.arc(-120, -120, 5, 0, p, false);
      t.fill()
     }
     t.restore();
     t.restore()
    }
    

    This does pretty much the same as the one above but always the same size and always the same colour. The t.save and t.restore operations throughout mean we can add the transformations onto each other and move stuff relative to other stuff without messing up everything. Goshdarn, that was technical.

    setInterval(r, 10);
    

    Kick it all off.

    That make sense? Good. Now go make your own js1k entry and submit it. Then download The Elementals. Or Harmonious.

    Comments

  6. This is a text post

    PhoneGap - The Drupal of App development

    I'm a fan of Drupal even though I don't use it that often. I like that I can see exactly what's going on. I can easily follow the execution from URL request to page serve.

    What I usually end up doing on any Drupal project is:

    1. build the majority of the site in a few hours
    2. find one small piece of functionality missing that's absolutely essential
    3. dig into the core to make it happen
    4. find a simpler way of doing it and step out of the core a bit
    5. find an even simpler way and step back a bit more
    6. figure out how to do it in a single module file and put the core back the way it was.

    That probably seems utterly inefficient but it has served me well since Drupal 4 and it means I've got a really good picture in my head of the internal workflow.

    This is in stark comparison to other systems, particularly some .NET CMSs where a request comes in, something happens and the page is served. There are even some PHP frameworks and CMSs where everything is so abstracted, the only way you can get an accurate picture of what is happening is to already have an accurate picture of what is happening.

    I've used several different ones and I keep coming back to Drupal (also, recently, Perch, but that's besides the point here).

    “What on earth does this have to do with PhoneGap?” I hear you ask. Quite rightly, too.

    When I was planning Harmonious, I looked at various frameworks for turning a combination of HTML, CSS & JavaScript into an app - PhoneGap, Appcelerator Titanium, Rhomobile. Rhomobile (or the Rhodes Framework) is built on Ruby so I didn't investigate too far. That's not to say it's not a good framework, I couldn't say either way. The idea behind using one of these frameworks is to save you the time of having to learn Objective-C and seeing as I've only done very minimal amounts of Ruby, I'd be replacing 'learn Objective-C' with 'learn Ruby'. That said, I've always thought Ruby developers opinion of themselves was slightly too high.

    The first framework I properly spent some time with was Appcelerator. It seemed quite shiny and I liked having single interface access to compilation for iPhone and Android but I wasn't so keen on having to sign up for an account with them for no obvious reason. Some further investigation suggested that this was so you could send your project to their servers for proprietary cross-platform compilation of your desktop app. This is less useful, however, if you're developing just for iPhone and Android as for both, you need the SDK installed locally and the compilation is done on your own machine.

    The main thing that I wasn't comfortable with in Appcelerator was that there seemed to be a lot happening behind the scenes. This is not necessarily a bad thing, of course, but it started that little buzz in the back of my head that I get when working on .NET. When I press 'compile', I want to know exactly what it's doing. I want to know exactly how it takes my JavaScript and embeds it, when does it include its own API files and what do I change to make it do stuff it doesn't do by default?

    After that, I moved to PhoneGap (version 0.8.3) and found myself immediately falling into my Drupal workflow. The app fell into place in less than an hour (with a liberal sprinkling of jQTouch and the Glyphish icons). I then needed to take a screenshot and couldn't see an obvious way to do it but, due to the nature of PhoneGap being completely open-source, it was easy to spot where to jump into the code. I hacked in a screenshot function in another hour, spent another half hour making it better and another making it simpler. Just to complete the cycle, I have now wrapped up all my code into a plugin and removed my hacking from the core. Hmmm... that all seemed eerily familiar.

    That's not to say PhoneGap is perfect. All the benefits of a completely open-source project referred to previously also come with all the drawbacks. The current version (0.9.0) is fiendishly difficult to download and get started with. It has been split into one parent project and several child projects (one per mobile platform) and it's no longer obvious what you do. It's easy enough if you're already set up but actually getting there is tricky. The most common failing of any open-source project is also true: poor documentation. There's a wiki but it's mostly out-of-date. There's a section on phonegap.com called 'docs' but they're also out-of-date. There's an API reference but it's autogenerated from comments and is also out-of-date. The only place to get accurate information is the Google group but that's not documentation, that's solutions to problems.

    There have also been some claims that PhoneGap is unstable and crashes but personally, I haven't seen that. It's possible that the crashes and performance issues are the result of memory leaks in the JavaScript. Appcelerator automatically runs JSLint on your code before compilation so it will highlight any problems. If you can fit that into your standard workflow, you might be able to avoid some of the instability.

    Additional comments

    Comment from Jeff Haynie (@jhaynie)

    A few comments about Appcelerator.

    1. We're completely open source and you can see all our active development every single commit on github.com/appcelerator. We have plenty of outside core open source contributors.

    2. Yeah, to do what we're doing, it's complicated - much more than Phonegap - so it does mean with complexity it's hard to grok. however, the source is all there. Also, it's full extensible through our SDKs and we this SDK as the way we build Titanium itself.

    3. For Desktop, we _only_ upload to our build servers as a convenience to cross-platform packaging. Nothing mysterious and all the scripts we run are included (and open source) so you can run them on your own. Plenty of our customers do this behind the firewall. When you're developing locally (say on a OSX machine), it's all local during dev. Only cross-platform packaging is done as a convenience to developers. We have to pay for this bandwidth and storage and we do it to make it easier. And it's free.

    Hope this clarifies some of the above. Phonegap's a great project and we love the team - but I think we're trying to do different things and come at it from different approaches. In the end, this is good for developers as it gives everyone more choice based on their needs.

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  7. This is a text post

    List of Touch UI gestures

    Just now, I'm trying to improve the UI for the Factory's first iPhone app. While doing this, I've come up with a list of available areas and gestures in a touch-driven app that you can use for actions. I thought I'd put them here so other people could point out where I've gone wrong and what I've forgotten:

    • Menus
      • Permanent on-screen menu
      • Transient on-screen menu (requires trigger)
      • Different screen menu (any number of them, requires trigger)
    • Static (can be overloaded with function based on position)
      • Single-tap
        • Single-tap 1 touch
        • Single-tap 2 touches
        • Single-tap 3 touches
      • Double-tap
        • Double-tap 1 touch
        • Double-tap 2 touches
        • Double-tap 3 touches
      • Touch and Hold
        • Touch and Hold 1 touch
        • Touch and Hold 2 touches
        • Touch and Hold 3 touches
    • Dynamic (Gestures)
      • Touch and Move 1 touch
        • Up
        • Down
        • Left
        • Right
      • Touch and Move 2 touches
        • Up
        • Down
        • Left
        • Right
        • Apart (Zoom)
        • Together (Pinch)
        • Rotate clockwise
        • Rotate anticlockwise
      • Touch and Move 3 touches
        • Up (Swipe)
        • Down (Swipe)
        • Left (Swipe)
        • Right (Swipe)
        • Apart (Spread)
        • Together (Gather)
        • Rotate clockwise
        • Rotate anticlockwise

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  8. This is a text post

    Scene and Herd archive

    Continuing the webcomic theme from yesterday, I finally uploaded the archive of strips from the webcomic I used to do in 2003.

    It actually started off as a cartoon on flyers advertising Baby Tiger gigs before developing into music reviews for a while before ending up in the final version.

    Start at the far end of the cartoon department, third floor.

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  9. This is a text post

    Rules: The Comic

    I found some old sketches at the weekend and decided that I shouldn't just leave them in a drawer doing nothing.

    I, therefore, present to you:

    The Rules

    It's kind of a web comic but it only has 19 issues, no plot and won't be continuing.

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  10. This is a text post

    The Shadow Government and a Hyperbagel

    I listen to a bunch of podcasts. I watch the Daily Show and the Colbert Report. I listen to a lot of They Might Be Giants. When you combine this with the audiobooks I listen to, the shows I go to and the paper books I read, you start to spot a pattern. A slightly sinister pattern...

    This originally started as a connectivity diagram of American Literary Non-fictionists but after I'd finished I realised it's not entirely American, it's not entirely non-fictionists. It's not entirely comedy and not entirely literary. After showing it to a friend though, he immediately suggested 'The New Illuminati' or possibly the Literary Illuminati. Maybe just the Illiternati. Any way round you have it, John Hodgman appears to be as some kind of Literpope in the middle of a literspiracy.

    From what I can figure, I need to write some world economics exposé with Planet Money, discuss the software I used to analyse the markets with This Week in Tech and appear onstage at The Moth to tell the audience how the experience changed my life then I can join the dots on the diagram and reveal the secret Iliternati symbol. I think it'll be somewhere between the CND logo and a hyperbagel.

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  11. This is a text post

    Some kind of monster

    Some kind of monster

    I've been trying to make myself sketch a lot more recently. This was mostly prompted by my decision to start up The Angry Robot Zombie Factory as an actual company doing web development and illustration.

    I've been keeping an almost daily sketch blog over on tumblr and promoting any good pieces over onto my actual illustration portfolio. At some point, I'll bring all these different sites and things together. Until then, here's a sketch of a few things from the last couple of weeks.

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  12. This is a text post

    Synchronised Podcasts

    This must exist somewhere. I just can't find it.

    I listen to a lot of podcasts in a week and I use quite a few different computers. One desktop at home, one laptop while out and about and a PC and an iMac at work. I want some service (or combination of web service and application) that I can use to manage my podcast subscriptions regarless of where I am.

    At the moment, I have iTunes installed on my desktop, my laptop and the iMac at work and I have subscribed to my collection of podcasts in each of them. I want to be able to plug in my iPod and have it delete the podcasts I've listened to and get the latest episodes of each of my subscriptions. At the moment, I plug it into the desktop, copy on the latest 'Planet Money' and listen. A couple of days later, there's another episode released so I plug into my laptop and it offers the episode I've just finished listening to and the new one. A few days later, I'm working on the office iMac and plug in my iPod, it suggests the last weeks-worth of episodes. I have to manually go into every subscription and drag over the individual files that I want to listen to.

    What I'd like to have is a web site where I can put in my podcast subscriptions and it will track the latest episodes of each. I can then either point iTunes to this site so that I can point all my installations at it or it will provide an application which can be used to put the latest episodes onto my iPod. When I plug in my iPod, the application tells the site which ones I've listened to and it removes them from my listening queue. The application could, also be stored on the iPod itself to enable it to be used wherever the iPod is plugged in, not just on computers with iTunes.

    Am I explaining myself clearly enough? It just seems so simple, it should already exists within iTunes. It is entirely possible that Apple's recent acquisition of Lala could be the first step in an online iTunes which would solve these problems. If anyone has any suggestions for the best way to achieve this, please let me know. I thought of a way of doing it with Dropbox but it would only work if the music bit of my iTunes library weren't bigger than my Dropbox account.

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  13. This is a text post

    Appreciate the artisans

    I know that every professional thinks their bit of the process is more important than people give them credit for. Designer's don't just colour in wireframes handed to them by the Information Architect. IAs don't just draw boxes and arrows. Copy writers don't just copy-and-paste the company brochure over the lorem ipsum.

    Now that I've said that, I must now point out: Developers don't get nearly enough credit.

    This may be something to do with the odd confusion that is 'web designer vs. web developer'. In some - and possibly the majority of - agencies, the web designer not only designs what the page looks like in Photoshop/Fireworks/Whatever but also produces the HTML templates, CSS and whatever JavaScript they feel comfortable with (the tutorials at jQuery for Designers probably help, too). In these agencies, if there is such a person as a web developer, they are most likely responsible for moving the relevant bits of HTML into template files, adding in any back-end integration and possibly writing some of the trickier JavaScript. The confusion arises in the other kind of agencies. The kind where web designers make Photoshop files and web developers turn them into HTML. The designer doesn't necessarily need to know anything about HTML, semantics or scripting. Not to minimise the importance of this kind of designer - they'll know a lot about typography, and visual relations, probably quite a lot about user experience and the process involved in bridging the gap between what the client wants to say and how the user wants to hear - but it's this kind of web developer I think doesn't get enough credit.

    If you're designing a site with a full knowledge of how it could be marked up, you will naturally - even if it's subconsciously - be marking it up in your head. This will influence your design and not necessarily in a bad way. You might ensure the semantics are just that little bit clearer or you might nudge these bits over that way so they can be grouped with those other ones there. If, however, you design with no thought at all about how this is going to be made, you will, most likely, do some things that you wouldn't otherwise. If your front-end developer can take this and turn it into a perfectly semantic, clean-coded masterpiece of HTML and CSS then apply JavaScript to progressively enhance the heck out of it and still keep it looking like you designed, they deserve to be lauded, applauded, praised and thanked. Publicly. The usual outcome of this situation is that the designer gets asked along to the awards ceremonies, puts it on their portfolio, an article in the Drum, happy. The developer gets a pat on the back from the team leader and asked if they could just tidy up how it looks in IE5.5 before they head home for the night, that'd be great, thanks.

    Sure, maybe we just need some better awards ceremonies for geeks. The kind of thing that the agency sales team will be able to brag about to potential customers (as that, in essence, seems to be the point of awards ceremonies) but I also think there might need to be a bit of a change of opinion in the industry. Just as designers don't just colour in wireframes, developers don't just open the designs in Photoshop and press 'Save for web...'.

    I hope this doesn't sound too ranty. These thoughts were prompted after seeing a few designer and copy writer portfolios which contained sites that either I'd built or one of my team had built. Writers credited, designers credited, developers (who built some awesome stuff on them, by the way) lost in the mists of time.

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  14. This is a text post

    User style

    A few years ago, I made a prediction about the way the web was going and so far it hasn't come true but it's definitely coming closer. To me it seems that the logical extension of us developers separating style and substance – what we've been doing for years with semantic mark-up – is for the general consumer to take that substance and give it their own style. I'm in no way suggesting that everyone become a designer. That would be a terrible, terrible thing. What I mean is that the consumer takes in/reads/experiences whatever it is you're giving to them in the manner that best suits them. There are many examples of what I mean around already but they're still not quite where I think they will end up.

    RSS

    We (web developers) already provide RSS feeds on our sites. By subscribing to a site's RSS feed, you get the content delivered directly to your RSS reader. As long as the site is providing the full article content (shame on you, if not) the consumer gets to see your content in a design format you have little control over. There is a basic level allowed for RSS formatting but nothing you can rely on. The control for the visual appearance of your content is now in the hands of the designer of the reader and the consumer (by way of choosing which reader they use).

    userstyle.css

    This was what initially prompted my thoughts on the subject. I've used Opera as my main browser for almost 10 years and I've always liked the Author mode/User mode switch. In essence, you can quickly toggle between seeing a web page as it was intended by the designer or disregarding the original layout and applying your own stylesheets to it. For the most part, this is used to be able to set high contrast for visually impaired users or to test various criteria (showing only images that have missing alt attributes, for example) but they can be used to produce any visual effect achievable with CSS.

    User stylesheets can also be assigned on a per-site basis rather than globally which means that you could have your Google results rendered in courier, right-aligned in green on black while your facebook pages can be set in Times in a sepia colourscheme.

    As with many things on the web, userstyles became a lot more popular once this functionality was available in Firefox (via the add-on Stylish) and not just Opera. Now there's a growing community of Userstyle developers and a directory of styles. Unfortunately, this is still not quite ready for mainstream use. It requires at least a basic level of technical ability to enable userstyles and to install them.

    userscript.js

    The userstyles community is, however, dwarfed in comparison to the userscript community. In pretty much exactly the same way that userstyles work, users can execute a specific Javascript file whenever they visit a site. Again, this can be enabled in Opera using site preferences and in Firefox using the Greasemonkey add-on. These scripts can completely change the way a site functions as well as how it looks. Combine them with userstyles (which userscripts can include automatically) and the only thing you can rely on remaining from your original design is the URL. There's a massive database of userscripts available.

    Again, though, these are still just that little bit too hard. The standard user isn't going to install the extension, isn't going to browse for scripts and isn't going to run Opera so these are still a bit too far away.

    Grab now, read later

    There are now quite a few sites where you can save stuff to read later. If you find an interesting article or a funny blog post but don't have time to read it or if it appears on a site with a garish and unusable design, you can send it to Instapaper or Evernote . You can then read it in their interface, on your iPhone, on your Kindle... all separated from your design.

    It's not only text that gets this treatment, you can use Ember and LittleSnapper to grab and store visuals for later perusal or use Huffduffer to collect any audio files you find and serve them back to you as your very own personalised podcast. Again, this is your content separated entirely from the way you wanted it seen. And that's a good thing.

    For content creators, all this means is that your content can be consumed anywhere, even via sites, tools and delivery mechnisms you've never heard of. Designers, don't despair, users aren't suddenly going to take their content elsewhere and not need you any more – users still want and need things designed well, this just means that if your design works for the user for a particular type of content, they'll use it for any content of that type. I'd much rather watch youtube videos using vimeo's layout than youtube's. Actually, I'd much rather have vimeo's comments, too.

    We're still quite a way off the average user being able to see whatever they want however they want it but these technologies and tools are definitely heading that way. I just wish I'd made a bet on it way back when.

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