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Cennydd has written a short piece for the Design Council about ethics within the realm of digital technology:

Disruption is Silicon Valley’s current watchword. Startups are optimised for shaking up vulnerable industries rather than assessing the resulting social, legal and ethical impact. Progress itself is the yardstick; whether that progress is in a worthwhile direction is sometimes secondary.

Beyond advocating that designers should have a central role in empowering and protecting users, Cenyydd suggests that we should also push for increased diversity within our product teams as well:

As ambassadors for global userbases, designers know well the range of mentalities and approaches people bring to technology. Homogenous teams are too easily swept up in camaraderie, seeing only exciting gains for people like them, yet blind to potential harm for people not like them. The broad perspective of diverse teams offers better insight on tough choices: early warning of ethical issues that may disadvantage particular groups.

I couldn’t agree more. Go read, it’s a good one.

For those looking for a quick and succinct introduction to Sass, the popular CSS pre-processor, my friend Cole Henley has written a pocket guide:

Sass is a tool that takes a lot of the legwork out of writing good CSS. This pocket guide will provide an overview of how Sass can dramatically improve your workflow and make your CSS more flexible, robust and reusable.

This guide only takes 30 to 45 minutes to read, but on turning the last page you’ll be up to speed with all the features of Sass, know why you may want to use them and be thinking about building upon these features to take your Sass usage to the next level – careful now! The book is available now from Five Simple Steps for just £3.

Matthew Butterick’s scrutiny of Medium reveals it to be “a form of hu­man frack­ing”:

In “Death to Type­writ­ers,” Medium in­sists that the type­writer is its “sworn enemy.” In cer­tain ty­po­graphic de­tails, maybe so. But as a de­vice that im­poses ho­mo­ge­neous de­sign, Medium still has a lot in com­mon with the typewriter.

In fact, its ethics are ac­tu­ally worse than the tra­di­tional type­writer. Why? Be­cause Medium’s ho­mo­ge­neous de­sign has noth­ing to do with lim­i­ta­tions of the un­der­ly­ing tech­nol­ogy (in this case, the web)… it’s a de­lib­er­ate choice that lets Medium ex­tract value from the tal­ent and la­bor of others.

Convenience always has a cost.

My contribution to this year’s 24 ways attempts to tackle one of the most difficult aspects of web development, naming things:

Working in-house may mean working with multiple developers, perhaps in distributed teams, who are all committing changes – possibly to a significant codebase – at the same time. Left unchecked, this codebase can become unwieldy. Coding conventions ensure everyone can contribute, and help build a product that works as a coherent whole.

Even on smaller projects, perhaps working within an agency or by yourself, at some point the resulting product will need to be handed over to a third party. It’s sensible, therefore, to ensure that your code can be understood by those who’ll eventually take ownership of it.

Put simply, code is read more often than it is written or changed. A consistent and predictable naming scheme can make code easier for other developers to understand, improve and maintain…

This is the fourth successive year I’ve been involved with 24 ways (including last year’s redesign), although this article rounds out a year in which I have been deliberately quiet in terms of writing and speaking. I don’t intend for that to be the case in 2015.

Mills Baker:

Much of the work for which we express the most enthusiasm seems superficial, narrow in its conception of design, shallow in its ambitions, or just ineffective.

A necessary critique of the state of design emanating from Silicon Valley. It would seem its best designers are putting lipstick on pigs; adding gloss to products that most people outside San Francisco neither want or need. Also, this:

Design is about solving problems that humans have, not problems that products have.

John Leicester provides a considered view on the new energy-conscious regulations governing Formula 1:

F1 wouldn’t be F1 without excess. Fans worldwide wouldn’t tune in for world champion Sebastian Vettel driving a Prius. F1 boss Bernie Ecclestone got fabulously rich with the sales pitch of bigger, faster, costlier, noisier equals vroooom…

But as road cars become more fuel efficient, with electric and hybrid-engine technology making increasing inroads, F1 needed to reconnect with its time or risk becoming an anachronism, racing on regardless the costs to the environment.

I’m loving the new-look Formula 1. Last season had become too predictable, not helped by the leading team favouring one driver. This year we have midfield teams challenging for podiums, and Mercedes allowing its two drivers to battle for the top step. As for the loudness, the squeal of locking wheels and the roar of expectant crowds more than makes up for the lack of growling V8s, however much the new engines sound like a dentist’s drill.

Possibly the most important design talk you’ll hear this year:

For decades, the spaces we live in have been built by consensus. Planners, architects, councils, consultation; and always the watchful eye of the regulators and elected officials. But the world’s favourite digital spaces are largely in the hands of people like you and me. We have to oversee ourselves – and it’s not going very well.

Are we focusing on the right problems? Or just aggrandising the mundane? How do we know what the right problems are? How can we guide ourselves to appreciate the cultural and personal impact of the decisions we make?

It’s time for our industry to become ethically aware, if we’re to have a chance of doing the right thing.

More on Bitcoin from Charlie Stross:

BitCoin looks like it was designed as a weapon intended to damage central banking and money issuing banks, with a Libertarian political agenda in mind – to damage states ability to collect tax and monitor their citizens financial transactions.

Alex Payne on Bitcoin:

Most charitably, Bitcoin is regarded as a flawed but nonetheless worthwhile experiment, one that has unfortunately attracted outsized attention and investment before correcting any number of glaring security issues.

To those less kind, Bitcoin has become synonymous with everything wrong with Silicon Valley: a marriage of dubious technology and questionable economics wrapped up in a crypto-libertarian political agenda that smacks of nerds-do-it-better paternalism.

Such criticism – that of the selfish logic behind the libertarian ideology prevalent in the Valley – will only grow louder in the coming year. Time to disrupt the disrupters, I say.

Hal Lasko is a 97-year-old man who uses Microsoft Paint from Windows 95 to create artwork that has been described as “a collision of pointillism and 8-Bit art”.

Although it’s easy to feel envious of Andy’s travels around the world, his writing is vivid enough to make you believe you had joined him. His latest series of posts, detailing a trip trough Africa, are no different. It sounds like an amazing continent, one that offers the intrepid traveller some incredible sights:

Great rich earthy trails of red, amber and ochre form streaks across huge plains of deep green foliage and scrubland. Huge white outcrops soar up through groves of yellow-pocked acacia trees, chunky bare-trunked baobabs and the fluttering sprouts of the banana plants.

Blade-like roads slice directly through villages where bright white eyes peer out from under the leafy shade of communal trees, and terracotta coloured, tin-roofed houses are lined up like matchboxes to each side of the varying qualities of tarmac – which range from rough to barely present.

Yet this beauty is threatened by a persistent danger, be it from wild game circling your isolated camp, or from fellow humans in a crime-ridden city:

…it was repeated to me a few times that you don’t stop at red lights after dark in Johannesburg, nor do you drive with your windows fully up (it stiffens the glass which makes it an easier task to smash with a crowbar at an intersection). Security is a massive concern of daily life, and every brick built house squats in a concrete or iron-fenced compound, and comes with a big board showing which particular company will provide the armed response. It’s quite a strange sight for European eyes.

What an experience.

Julian Assange reviews Eric Schmidt and Jared Cohen’s new book, The New Digital Age:

Google, which started out as an expression of independent Californian graduate student culture – a decent, humane and playful culture – has, as it encountered the big, bad world, thrown its lot in with traditional Washington power elements, from the State Department to the National Security Agency.

Exhibit A: PRISM.

“Time for big school.”

The uncut interview of Stephen Colbert’s visit to Google’s New York office.

First-time director John Kahrs combines computer-generated and hand-drawn animation techniques to great effect in this Oscar®-nominated short from Disney.

Harry Roberts:

It’s hard, if not impossible, to deny that performance is by far one of the most critical aspects of any decent web project, be it a small portfolio site, a mobile-first web app, right through to a full-scale e-commerce project. Studies, articles and personal experience all tell us that fast is best.

If you’re a web developer (or designer) read this. Now.

John Gruber:

The trend away from skeuomorphic special effects in UI design is the beginning of the retina-resolution design era. Our designs no longer need to accommodate for crude pixels. Glossy/glassy surfaces, heavy-handed transparency, glaring drop shadows, embossed text, textured material surfaces – these hallmarks of modern UI graphic design style are (almost) never used in good print graphic design. They’re unnecessary in print, and, the higher the quality of the output and more heavy-handed the effect, the sillier such techniques look.

John’s article forms part of a larger discussion about the possible emergence of a truer digital aesthetic. Flat interfaces, such as those seen in Microsoft’s Metro UI and the BBC’s GEL project are certainly fashionable, and thankfully, to my taste. Simpler interfaces are particularly suited to the web; high-fidelity interfaces can require a large number of image assets or many lines of CSS, reducing overall performance.

I’m not sure this trend has much to do with HiDPI displays though. I suspect, like most design movements, it’s just a reaction to what proceeded it. Skeuomorphism is to Art Nouveau what flat design is to minimalism. What goes around, comes around.

Be sure to read Max Rudberg’s counter argument, too.

A beautiful promotional film for the Polaroid SX-70 camera, produced by Charles and Ray Eames. I want one. (Via 37signals)

Fantastic commentary regarding Instagram’s clarification of its controversial (if not unexpected) policy changes:

If anything, this whole episode is a demonstration of the slippery charms of tone of voice. The terms and conditions were an example of clear language being used to convey information as simply as possible – it just happened to be controversial information.

The ‘clarification’ is an example of tone of voice being used to obscure and mollify. Almost like a filter applied to a photo, giving it nice fuzzy edges and an air of authenticity.

Peter Saville talks about the genesis of his cover for Unknown Pleasures and its enduring appeal.

Jason Santa Maria:

Ratios and baselines grids can be too rigid for the inherently flexible nature of the web. Just because something works at one size doesn’t mean the same ratio will be appropriate at larger or smaller sizes.

I often design websites to a vertical rhythm, even though maintaining it can be difficult during development. Jason’s arguments made me realise that this practice goes against the grain of the medium; something I discourage in The Web Aesthetic. I need to let go of my baseline grids.

Bruce Lawson followed up on my brief thoughts with his own, having attended Adobe’s Create The Web event in London. As I suspected, some of the code produced by Edge Animate isn’t pretty, and there’s some weird messaging around browsers not based on WebKit. Yet he agrees that overall, this is the right strategy for Adobe.

Rian van der Merwe for A List Apart:

A “shiny citadel” from far away, as The Guardian once wrote, up close Brasília has “degraded into a violent, crime-ridden sprawl of cacophonous traffic jams. The real Brazil has spilled into its utopian vision.”

This problem echoes across today’s web landscape as well, where the needs of ordinary users spill constantly into designers’ utopian vision. All around us we see beautiful, empty monuments erected not for their users, but for the people who built them – and the VCs who are scouting them.

“Digital Brasílias” is a great term for all the beautiful – yet ultimately useless – products emerging from the Valley. Product discovery can help us not only design things better, but design better things.

Knate Myers stitched together this wonderful time-lapse video, using photographs taken from the International Space Station. The music is Sunshine (Adagio In D Minor) by John Murphy.