Mark O’Connell wrote a very interesting article about a fairly unsettling iOS app called Days of Life — “a counter for the days you have left to live.” In Deathwatch he explores just how weird and absurd this app turns out to be:

Days of Life is one of those technologies that seems to incidentally satirize our relationship with technology more broadly. It sits in the “Productivity” folder on my iPhone’s home screen, along with my calendar and a to-do list app called Remember the Milk, but it would be as appropriately housed in a folder called “Existential Terror.”

So much of what we value in technology is its promise to upgrade the hardware of our lives, to make us more useful to ourselves — more productive, more profitable, more effective. Days of Life functions like a reductio ad absurdum of the logic of personal productivity. The pie chart becomes a special way of being afraid: an image of the self as a micro-economy of numbered days.

We sometimes have such a warped view of what it means to be “productive”, and this essay does a good job of shining a spotlight on that.

Alexis Madrigal — who is turning into one of the most interesting journalists of our time — goes deep on Netflix’s 76,897 (often bizarre) micro-genres in How Netflix Reverse Engineered Hollywood:

Netflix has meticulously analyzed and tagged every movie and TV show imaginable. They possess a stockpile of data about Hollywood entertainment that is absolutely unprecedented.

Netflix is putting in a staggering amount of effort on the structured data of their TV shows and movies. And of course, it’s all for one reason — to get to know you better:

They capture dozens of different movie attributes. They even rate the moral status of characters. When these tags are combined with millions of users’ viewing habits, they become Netflix’s competitive advantage. The company’s main goal as a business is to gain and retain subscribers. And the genres that it displays to people are a key part of that strategy. “Members connect with these [genre] rows so well that we measure an increase in member retention by placing the most tailored rows higher on the page instead of lower,” the company revealed in a 2012 blog post. The better Netflix shows that it knows you, the likelier you are to stick around.

And now, they have a terrific advantage in their efforts to produce their own content: Netflix has created a database of American cinematic predilections. The data can’t tell them how to make a TV show, but it can tell them what they should be making. When they create a show like House of Cards, they aren’t guessing at what people want.

What’s interesting is that similar things are happening in other forms of media as well. Spotify and Rdio’s knowledge of our listening data can be used to inform record labels what type of albums they should invest in. And as David Streitfeld reports in As New Services Track Habits, the E-Books Are Reading You, a new crop of companies are helping authors figure out what type of books they should write:

The move to exploit reading data is one aspect of how consumer analytics is making its way into every corner of the culture. Amazon and Barnes & Noble already collect vast amounts of information from their e-readers but keep it proprietary. Now the start-ups — which also include Entitle, a North Carolina-based company — are hoping to profit by telling all.

“We’re going to be pretty open about sharing this data so people can use it to publish better books,” said Trip Adler, Scribd’s chief executive. […]

Scribd is just beginning to analyze the data from its subscribers. Some general insights: The longer a mystery novel is, the more likely readers are to jump to the end to see who done it. People are more likely to finish biographies than business titles, but a chapter of a yoga book is all they need. They speed through romances faster than religious titles, and erotica fastest of all.

All of this raises familiar questions about the loss of serendipity — finding interesting things we’re not looking for. But I still think this is an unnecessary fear.

Megan Garber takes on Instagram Direct1 in Behold, Facetwitterest: The Standardized Future of Social, and makes this observation:

So one of the biggest challenges facing the major (and the trying-to-be-major) social networks is a structural one: How do you build yourself up and out in ways that balance users’ desire for intimacy with their desire for publicity? How do you merge the web’s ability to create communities with its ability to create universalities? 

You could read Direct as Instagram’s (and Facebook’s) latest attempt to navigate that tension. The service is, basically, attempting to add a layer of privacy to its existing, public-leaning architecture. But Instagram isn’t just Snapchatting itself. It’s offering its users a Snapchat-like functionality within the context of its much more public social network. It’s trying to have it both ways — cynically, but perhaps ingeniously — by offering a refuge of privateness within a very public service.

It reminds me of something Luke Wroblewski said recently:

Every mobile app attempts to expand until it includes chat. Those applications which do not are replaced by ones which can.

Direct appears to be a necessary defensive move by Instagram — private messaging is now a basic expectation for social networks. But it also looks like people are getting more savvy about their privacy and what happens to their data (Thanks, NSA!), so it will be interesting to see how this mixing of public and private plays out in 2014.

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1. The ability to send photos privately to people in your network ↩

Clive Thompson takes on the “social media is bad for teens” narrative in Don’t Blame Social Media if Your Teen Is Unsocial. He discusses some findings by Microsoft researcher Danah Boyd:

What she has found, over and over, is that teenagers would love to socialize face-to-face with their friends. But adult society won’t let them. “Teens aren’t addicted to social media. They’re addicted to each other,” Boyd says. “They’re not allowed to hang out the way you and I did, so they’ve moved it online.” […]

The result, Boyd discovered, is that today’s teens have neither the time nor the freedom to hang out. So their avid migration to social media is a rational response to a crazy situation. They’d rather socialize F2F, so long as it’s unstructured and away from grown-ups. “I don’t care where,” one told Boyd wistfully, “just not home.”

Thompson and Boyd are joining a growing number of authors who push back against the notion that technology makes us stupid, social media is bad for us, etc. I’m currently making my way through Thompson’s book, Smarter Than You Think: How Technology is Changing Our Minds for the Better. It’s really great so far, and I’ll write a full review when I’m done, but his core argument comes down to this:

What are the central biases of today’s digital tools? There are many, but I see three big ones that have a huge impact on our cognition. First, they allow for prodigious external memory: smartphones, hard drives, cameras, and sensors routinely record more information than any tool before them. We’re shifting from a stance of rarely recording our ideas and the events of our lives to doing it habitually. Second, today’s tools make it easier for us to find connections—between ideas, pictures, people, bits of news—that were previously invisible. Third, they encourage a superfluity of communication and publishing. This last feature has many surprising effects that are often ill understood.

Also consider Jason Feifer’s impassioned rejection of Sherry Turkle’s doom-and-gloom ideas1 in Google Makes You Smarter, Facebook Makes You Happier, Selfies Make You A Better Person:

Turkle imagines that any interaction with technology somehow negates all the time spent doing other things. She also imagines that we must devote ourselves in only one way to every task: At a dinner table, we are only serious and focused on conversation; at a memorial service, we are only mournful. That is not the way we live. It’s never been the way we live. And that’s the beauty of technology, which Turkle cannot see: We can use it for all purposes, to express joy and sadness, to have long conversations or send short texts. We made it. It is us.

I’m coming around to the idea that online connections are as real as “IRL” connections2. We’re just going through a reframing that happens every time a new technology comes along, and that’s ok. I also think we need both sides of the argument — pessimists as well as optimists — to help us work through it all and find our middle ground.

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1. Yes, I know, I’ve written about her stuff quite a bit. It’s time to start looking at the other side of the argument. ↩

2. Also see my post The fetishization of the offline, and a new definition of real. ↩

I’m always looking for ways to make our workflows more efficient, often to the frustration of my colleagues. I admittedly make them test out way too many tools. But I think I finally found a winning integration that everyone can get behind. First, a bit of background.

We use HipChat as our group chat and IM tool. We have a general room where we all hang out (but I’ll be honest with you, it mostly contains gifs), and then we also set up dedicated project rooms where we discuss project-specific issues. We use Trello to track our tasks and progress on projects. I love Trello, but I wanted to find a way to turn HipChat into the canonical record of what happens on our projects. For that, I turned to a service called Zapier.

Zapier is a tool that connects the web apps you use on a daily basis, and move data between them. Think of it as If This Then That for business use. We have quite a few Zapier automations set up, but my favorites are the ones that post a message to HipChat whenever something specific happens in Trello.

The first step is to set up the connection between Trello and HipChat. To do that, start with this Zapier automation: Create HipChat Alert from new Trello Activity.

Now, the problem is that this default integration posts a message whenever anything happens in Trello, so it gets overwhelming really quickly. I only want to post a message to HipChat when (1) someone creates a new Trello card, or (2) when someone moves a card from one column (like To Do) to another (like Doing). Trello’s API documentation isn’t very clear, so it took quite a bit of playing around, but I eventually figured out how to make it work. The trick is that you have to create some custom filters to weed out the non-essential stuff. So, once you’ve set up the basic automation, here’s what to do.

To send a message to HipChat when a new card is created in Trello, add the following custom filter:

And then use the following variables for the HipChat message:

To send a message to HipChat when a card is moved from one column to another, create the following custom filter:

And use the following variables for the HipChat message:

The result looks like this in HipChat:

I like this message format because it lets you know who did what, and it also links directly to the Trello card if you’d like add a comment or look at other activity.

This integration basically turned HipChat into a dedicated project news feed, which I find extremely useful. If you only work on one project at a time this whole thing might seem like overkill, but we often have 3 or more projects on the go, so it’s great to enter a HipChat room and immediately be able to get a sense of what’s going on.

So, give Zapier a try. Even if you don’t use HipChat and Trello, I’m sure you’ll have fun playing around with the services you do use.

Khoi Vinh wrote a great essay exploring What Streaming Music Can Be. He starts by describing some of the things that made buying CDs and albums a meaningful experience:

This is all trivia, to be sure, but it’s the kind of stuff that used to be such a meaningful part of owning music — and that makes one a fan for life. Having a record in your collection meant that you could spend time poring over its liner notes: familiarizing yourself with the names of musicians, producers, engineers, and managers; memorizing lyrics; and studying photos of musicians’ faces, stances and attire. These were the intangible qualities that made music more than just a service, but something to be collected.

But Khoi doesn’t just want streaming music services like Spotify and Rdio to copy the days of physical liner notes. Instead, he makes some suggestions on how these services can use metadata in fascinating ways to add meaning to digital music.

I’ve been a happy Spotify customer for a few months now, but everything Khoi says in his post makes sense to me. I’ve discovered some great music — and some great albums — but I tend to listen to those albums a lot less than when I used to buy CDs. The turnover is just too fast — there’s always something new to discover. And I’m hungry for it, incapable of resisting the lure of the next great song.

Apart from the missing metadata, there is something else that bugs me about streaming services (and digital music in general). Janko Jovanovic discusses this in the context of eBooks in his post Digital and physical, but it’s just as applicable to digital music:

When I buy a physical book, it starts to live a life of its own. After reading it for days or weeks, the book changes. It’s not brand new anymore. Edges of papers lose their sharpness. The cover becomes slightly bent and you can tell it was read just by looking at it. When I put a book on a shelf it becomes a part of the space I live in and it continues to change over time. This transience and decay of things around me remind me that I should use every moment of my life since I will go through the same lifecycle as that book. […]

All digital goods, be it ebooks, software, documents or images give me a sense of permanency and immutability. They are sterile. And that sterility prevents me from getting in touch with transience and gives me a sense of timelessness. Which is just an illusion.

I’m not going to end my Spotify subscription, but I do miss glancing over my CDs, observing the wear and tear of albums that have gone through so much with me. Those CD covers become more than the music they contain. They become reminders of a life well lived. And I do fear that I’m losing that now that I mainly listen to my (admittedly awesome) Spotify playlists.

Robert McGinley Myers wrote a good post called Misunderstood or Double-edged? about the new Apple holiday ad. He starts off with familiar arguments about faces stuck in phones and blah blah blah — but wait, don’t roll your eyes because of yet another “technology is bad” post. It doesn’t end like you think it will:

That screen is not going away anytime soon, but we don’t have to be passive viewers of it, merely consuming and feeling vaguely guilty about what we consume from it. There’s immense creative power behind the screen. Instead of worrying about it, lamenting it, and disparaging it, we should focus on learning how best to use it — to gather, understand, shape, and share the information around us.

Agreed.

My thanks to Webydo for sponsoring Elezea’s RSS feed this week.

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Alex Maughan gives some great front-end design and development tips in his article Mobile-first, semantic, and modular front-end design. If any part of your work touches front-end development, I highly recommend this piece. In addition to walking through the tools he uses (and his reasoning), Alex also makes a strong case for progressive enhancement:

Designs should be approached with a content-first and mobile-first mindset. Following this, CSS breakpoints should always be mobile-first. All JavaScript should be progressively enhanced and should be used at a conscientious minimum where possible. Therefore, the concept of progressive enhancement happens from all aspects, from design to development and back again.

All of this translates into websites that are much more future-friendly within a disruptive device and browser marketplace. It also has the added benefit of improving performance and guarding against fatal runtime errors that stop pages from working.

I haven’t yet linked to many pieces on progressive enhancement. As I went through my Pinboard links just now I realized that 2013 has been a big year for this topic. These are all the articles I know about that came out this year in strong defense of progressive enhancement:

• Progressive enhancement is still important
• Progressive Enhancement: Still Not Dead
• Progressive Enhancement. Still Alive & Kickin’
• Progressive enhancement is faster
• A plea for progressive enhancement
• Progressive Enhancement: It’s About the Content

I don’t know, it sounds like it’s not dead yet…

Finally, I have a legitimate excuse for my obsession with sci-fi and post-apocalyptic literature. Apparently it’s going to make me a better designer. I’ll take it! Rebecca J. Rosen explains Why Today’s Inventors Need to Read More Science Fiction:

Once any sort of technology has users, it becomes extremely difficult to change it — even if you know it should or must be changed. […] How is that affecting our social structure and values? How is that changing the way we view ourselves and even the way we understand our own mental functioning? […]

Reading science fiction is like an ethics class for inventors, and engineers and designers should be trying to think like science fiction authors when they approach their own work. […] I feel with great urgency that we need to very thoughtfully consider what we build as well as encourage that same thoughtfulness out in the world.