Tags: product

Anti-work | Go Make Things

But this obsession with hard work as a virtue, as a good and righteous thing to do, the glorification of toil and sweat and labor… that’s a tool the wealthy who don’t work for a living use to oppress those who do.

I concur.

The Last Quiet Thing | Terry Godier

Most of your screen time isn’t leisure. It isn’t addiction. It isn’t even a choice.

It’s maintenance.

Coding Is When We’re Least Productive – Codemanship’s Blog

I’ve seen so many times how 10 lines of code can end up being worth £millions, and 10,000 ends up being worthless.

Backseat Software – Mike Swanson’s Blog

People use “enshittification” to describe platform decay. What I’m describing here is one of the mechanisms that makes that decay feel personal. It’s the constant conversion of your attention into a KPI.

cubic blog: The real problem with AI coding

Can you ship AI-generated code without creating a maintenance nightmare six months from now? Can you debug it when it breaks? Can you modify it when requirements change? Can you onboard new engineers to a codebase they didn’t write and the AI barely explained?

Most teams haven’t realized this shift yet. They’re optimizing for code generation speed while comprehension debt silently accumulates in their repos.

One team I talked to spent 3 days fixing what should have been a 2-hour problem. They had “saved” time by having AI generate the initial implementation. But when it broke, they lost 70 hours trying to understand code they had never built themselves.

That’s comprehension debt compounding. The time you save upfront gets charged back with interest later.

On the last day of UX London this year, I was sitting and chatting with Rachel Coldicutt who was going to be giving the closing keynote. Inevitably the topic of converstation worked its way ’round to “AI”. I remember Rachel having a good laugh when I summarised my overall feeling:

I kind of wish I could go into suspended animation and be woken up when all this is over and things have settled down one way or another.

I still feel that way. Like Gina, I’d welcome a measured approach to this technology. As Anil puts it:

Technologies like LLMs have utility, but the absurd way they’ve been over-hyped, the fact they’re being forced on everyone, and the insistence on ignoring the many valid critiques about them make it very difficult to focus on legitimate uses where they might add value.

I very much look forward to using language models (probably small and local) to automate genuinely tedious tasks. That’s a very different vision to what the slopagandists are pushing. Or, like Paul Ford says:

Make it boring. That’s what’s interesting.

Fortunately, my cryosleep-awakening probably isn’t be too far off. You can smell it in the air, that whiff of a bubble about to burst. And while it will almost certainly be messy, it’s long overdue.

Paul Ford again:

I’ve felt so alienated from tech over the past couple of years. Part of it is the craven authoritarianism. It dampens the mood. But another part is the monolithic narrative—the fact that we live in a world where there seem to be only a few companies, only a few stories going at any time, and everything reduces to politics. God, please let it end.

The AI Gold Rush Is Cover for a Class War

Under the guise of technological inevitability, companies are using the AI boom to rewrite the social contract — laying off employees, rehiring them at lower wages, intensifying workloads, and normalizing precarity. In short, these are political choices masquerading as technical necessities, AI is not the cause of the layoffs but their justification.

Where’s the AI design renaissance?

I’ve had some incredibly productive moments with AI design tools. But I’ve had at least as many slogs, where I can’t get it to do some basic thing I should’ve done myself 45 minutes ago.

My hunch: vibe coding is a lot like stock-picking – everyone’s always blabbing about their big wins. Ask what their annual rate of return is above the S&P, and it’s a quieter conversation 🤫

This, in my opinion, is how we end up with a firehose of AI hype, and yet zero signs of a software renaissance. As Mike Judge points out, the following graphs are flat: (a) new app store releases, (b) new domain names registered, (c) new Github repositories.

Why doesn’t anything work anymore? | Jason Rodriguez

I’ve worked in the tech industry for close to two decades at this point. I’ve seen how difficult it is to build quality products, but I’ve also seen that it can be done. It just feels like no one gives a shit anymore, beyond a handful of independent devs and small shops. It’s wild.

Decentralizing quality || Matt Ström-Awn, designer-leader

I’ve personally struggled to implement a decentralized approach to quality in many of my teams. I believe in it from an academic standpoint, but in practice it works against the grain of every traditional management structure. Managers want ‘one neck to wring’ when things go wrong. Decentralized quality makes that impossible. So I’ve compromised, centralized, become the bottleneck I know slows things down. It’s easier to defend in meetings. But when I’ve managed to decentralize quality — most memorably when I was running a small agency and could write the org chart myself — I’ve been able to do some of the best work of my career.

Addicted to Every Possibility by Nathan Beck

Find freedom not in infinite choice, but in working a single seam until you strike gold: conducting dozens, even hundreds, of iterations within a tight parameter space—not in search of more, but in search of better.

The Imperfectionist: Seventy per cent

If you’re roughly 70% happy with a piece of writing you’ve produced, you should publish it.

Works for me!

You’re also expanding your ability to act in the presence of feelings of displeasure, worry and uncertainty, so that you can take more actions, and more ambitious actions, later on.

Crucially, you’ll also be creating a body of evidence to prove to yourself that when you move forward at 70%, the sky stubbornly fails to fall in. People don’t heap scorn on you or punish you.

I’ve been reading lots of modern takes on Greek classics. So when I saw that there was going to be a short of run of Sophocles’s Electra at Brighton’s Theatre Royal, I grabbed some tickets for the opening night.

With Brie Larson taking on the title role in this production, it’s bound to be popular.

I didn’t know anything about this staging of the play—other than it was using the Anne Carson translation—which is how I like it. I didn’t know if it was going to be modern, retro, classical or experimental.

It turned out to be kind of arty, but not in a good way. Arty like art school with all the clichés.

The production somehow managed to feel packed with gimmicks but also seriously underbaked at the same time. There must have a been a lot of “yes, and…”s during the workshopping, but no subsequent round of “no, but…”s. So we got lots of ideas thrown at the wall like spaghetti. Very few of them stuck.

Instead of enhancing the core text—which is, thankfully, indestructable—most of the gimmicks lessened it. It’s like they were afraid to let the play speak for itself and felt like they had to do stuff to it. Most of it ended up creating an emotional distance from the story and the characters.

It wasn’t bad, per se, but it definitely wasn’t good. It was distinctly mediocre.

Now, take all of this with a big pinch of salt because this is just my opinion. The very things that turned me off might tickle your fancy. Like the way it was half way to being a musical, with characters singing their dialogue in that monotone way that they do in Les Mis (but this is like Les really Mis). And the vocal effects that did nothing for me might be quite effective for you.

Even as I was watching it, I was thinking to myself, “Well, this isn’t really for me, but I can kind of appreciate that they’re trying to experiment.”

But then towards the end of the play, it went too far. Over the PA came samples of reporting of recent news stories; graphic, grisly, and crucially, real. If you’re going to attempt something like that, you need to earn it. Otherwise you’re just cheapening the real-world suffering. This play absolutely did not earn it.

Elektra has finished its run in Brighton and is now heading to London where it’s supposed to play until April. I’m curious to see how it goes.

Durable products | Brad Frost

Wherein Brad says some kind words about The Session. And slippers.

Slippers are cool.

Prescriptive and Descriptive Information Architectures | Jorge Arango

Interesting—this is exactly the same framing I used to talk about design systems a few years ago.

Hixie’s Natural Log: When complaints are a good sign

This is a very smart way to handle feedback about a product.

Trains are offices | hidde.blog

This tracks (ahem) with my experience of coding on trains.

Hidde lists the potentially flaky connectivity as a downside, but for many kinds of deep work I’d say it’s very much a feature, not a bug.

Generative AI Is Not Going To Build Your Engineering Team For You - Stack Overflow

People act like writing code is the hard part of software. It is not. It never has been, it never will be. Writing code is the easiest part of software engineering, and it’s getting easier by the day. The hard parts are what you do with that code—operating it, understanding it, extending it, and governing it over its entire lifecycle.

The present wave of generative AI tools has done a lot to help us generate lots of code, very fast. The easy parts are becoming even easier, at a truly remarkable pace. But it has not done a thing to aid in the work of managing, understanding, or operating that code. If anything, it has only made the hard jobs harder.

AI-free products

Develop a simple, focused app that does what it says on the tin — not one where the tin talks back at you.

If you can’t make it to all three days of this year’s UX London, there’s always the option to attend a single day.

Day two is focused on product design. You know, the real meat’n’potatoes of working at the design coalface (to horribly mix my metaphors).

The day begins with four back-to-back practical talks.

1. John V Willshire gets the ball rolling with a big-picture talk on the product of design. John will show you how to think about futures rather than features.
2. Tshili Ndou follows on with her talk aboutvalidating features. Tschili will show you how to create high value products and avoid wasting money.
3. Wioleta Maj is up after the break with a talk on understanding the impact of design choices. Wioleta will show you how to identify who we are creating our designs for (and who we are not).
4. Harry Brignull closes out the morning with his call to action, Do Not Pass Go. Harry will show you how to get to grips with our industry’s failure to self-regulate when it comes to harmful design patterns.

After lunch, it’s decision time. Whereas the morning talks are sequential, the afternoon’s workshops run in parallel. You’ve got four excellent workshops to choose from.

1. Ben Sauer will be giving a workshop on the storytelling bridge . Ben will show you how to find your inner storyteller to turn your insights into narratives your stakeholders can understand quickly and easily.
2. Tom Kerwin will be giving a workshop on multiverse mapping. Tom will show you how to pin down your product strategy and to align your team around the stuff that matters.
3. Serena Verdenicci will be giving a workshop on behavioural intentions . Serena will show you how to apply a behavioural mindset to your work so you can create behaviour-change interventions.
4. Brad Frost will be giving a workshop on the design system ecosystem. Brad will show you how to unpack the many layers of the design system layer cake so you can deliver sturdy user interfaces and help teams work better together.

Finally there’s one last keynote talk at the end of the day. All will be revealed very soon, but believe me, it’s going to be a perfect finisher.

If a day of outstanding talks and workshops on product design sounds good to you, get your ticket now.

And just between you and me, here’s a discount code to get 20% of the ticket price: JOINJEREMY.