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Covering Global Issues – Ideas, Style and Smart Living with Summit Magazine

I am your host Ryan Salter, I’m an energy attorney, clean energy advocate and community outreach specialist, i’m also the principal attorney of imagined power. Llc got some exciting stuff. Today, we always say here on the show that it’s important to engage all stakeholders in the energy conversation, including those who may not be traditionally engaged in energy policy.

I think this prominently includes our communicators reporters and storytellers as it they you keep the public informed, engaged and educated about arts, culture, news and current events. So it’s not often these days that you come across a print magazine that just blows you away with its beauty, style and content, but that is what happens to me when I came across this month. Edition of summit magazine summit is Hawaii’s global magazine with in-depth coverage.

Art design style, business, civics and literature in the Hawaiian who’s beer summit connects Islanders and global travelers to the very best perspective, purveyors and products of the archipelago. I has between here today, akaike Hussey, the publisher and editor of summit magazine with us here in the studio today, so it kind of resides in co-ed and as a longtime leader in the community in a wide variety of areas he’s on the board of the domestic Violence, Action Center and the Hawaii Alliance for progressive action, just innings, you akaike, is a teacher author and thought leader with in his word.

The common goal of strengthening our Island home akaike earned a master’s degree in political science from the University of Hawaii at Manoa and is currently studying economics via the university of london and the London School of Economics. So, with all of that said, welcome ipega. Thank you. Riah so summit magazine, I think, is just it’s just gorgeous. I just you know I hadn’t come across it before and I was just so blown away by the 50 intriguing content, the the beautiful pictures, fashion style and yet still this really deeply intellectually engaging approach.

Global approach, so I’m just so excited to have you here to talk a bit about the magazine. Thank you, but first before we do, maybe you could tell me a little bit about yourself and your background and how you came to become a magazine, publisher sure. Well, I came to media from pro very unconventional path. I I came to it as as a person who had to offer up and talk to the media about things that are happening in the grassroots community, and so I come out of sort of an organizer community activism background fantastic.

What kind of wood that McGee renew a lot of our engaging with the news with what type of stuff for you? After a lot of things in the native blind community self-determination, sovereignty, demilitarization, land rights convention right things? And it was often by my job within our various hui tou to be the person who would go and talk to the press. I would read the press releases. I prayed the flyers and do that kind of thing, and what I realized was our press.

Our our media have an incredibly important responsibility and a lot of power and and it could be used, it could be used for incredibly wonderful things. My concern is, you know when I first started comin in the Hawaii independent was: was that oftentimes Native Hawaiians retreated sort of the problem? You know the wireless guys by those Hawaiian protesting, and the fact that we were protesting was was the problem, as opposed to the issue that we were protesting about being the problem.

So I wanted to flip the lens a little bit and to speak from speak about the world from a Hawaiian perspective instead of having media that just covers Hawaiian. So I want to tell a big different kind of story and then what was available in the in the media of the time wow that is so interesting sort of whatever you say. So the problem was speaking out. You know if only they would be quiet and not talk about these things, and so you were like let’s go ahead and and talk about these things.

Authentically is what I’m hearing right: ships, who’s speaking and shift a speaking and so a couple years ago. I was thinking about a lot about how do we how to create something? That’s really powerful and wonderful. Coming on Hawaii, I wanted to speak to a more global audience from a whole trigger a distinctly hawaii and hawaiian point of view, and it’s always been rattling around. In my my mind, this is quote from queen kapiolani, who was the spouse of David Clarke.

All of the last king of Hawaii – and it was during a time when Hawaii was very much a global place. It was much more cosmopolitan and had a very kind of modernist perspective and orientation, much more so than it than it did in the 20th century and her model. Kapila news model was coolio canoe, which means drive for the summit and try to achieve the very best that we can as an island community. And I think that the neat idea, and so what my goal with this particular publication, is to to try to elevate expectations.

For what Hawaii can be in this 21st century, to showcase the amazing people who are doing great things and media, like my pink tech or in fashion or in culinary arts, and a show that we really have a lot to offer the world? And so that’s about. Sixty seventy percent of the magazine and the other thirty forty percent is kind of straight up: international politics and business. So we cover big ideas that are driving the world right now, like the idea of universal basic basic income, which there comes from about later so, which is which is so interesting yeah.

I hope you know I well. I think it’s interesting, I think folks, reading low as well. So how does I’m curious? So how did you go from? You know the you know, writing the press releases. The sort of you know having this. You know international. You know magazine. Well, you know. Thankfully, we live in a time when a lot of the effort that it you should take to create on publication has been. It was blocked, easier, wordpress and Amazon Web Services and all of the a kind of readily available technology that the Internet has offered to us.

I started doing websites when I was like 17 or 18 years old in high school, and it was very much for him tinkering around and creating a pretty really simple website, so I launched an online news website called the whole independent in 09. Okay, I can remember just because my daughter was born right as I launched it, and I have this crazy habit of starting differences when carried I so you know it was relatively easy to get that off the ground just because with technology you know you must have Good enough to print and hire a truck to deliver yeah physical newspapers that make sense that yet at the same time, I think it must have also been you know your works at the knowledge and roots in the community.

You must have known a lot of artists because you can have all the trucks to drive and fancy print things in the world and not have sort of photographs of of the beauty that you have, and you know the richness of content so well. Some of the degrees, an art and a science summit really is a team effort. I play a. I would be a pretty minimal role in the actual creation of this. This thing that you have in your hands on the table.

We have an excellent art director and excellent in a managing editor, who really make them anything happen and copy editors and writers. Who, who put you, know wonderful thought into their words. I just help with, like. I literally drive amazing around people and try to set up the revenue so that it can keep going well, I’m always in a very important function, the audience for something who’s the audience.

So we have our core demo it’s sort of 35 to 45 year old. So, like you know me it dollars users when you create something for someone that you you know well, I happen to be right in the middle of that that demo ravi speaking mr. Department of mass affluent. So not quite though one percent – but you know, people who are professionals their business owners, they’re, deeply engaged in the life and our civic life.

They they made themselves have significant assets. We and we certainly have a lot of readers with with poor, very affluent, like I want to be in this integr attic me too, and so that that’s probably the age and income distribution and then geographically, we’re writing for an audience. That’s here, but also an international audience, so we have readers in Japan, their readers. We have read adult route: north america – I have a subscriber in slovenia that I need to send a get into, and you know so that’s where it it’s ironic now that i’m printing of physical magazine to get them with the deal the logistics of moving this.

You know 200 pages mmm paper around the globe while trying to trying, as best we can to mitigate the carbon impact, which we should talk about. Of course. But and that’s you know, that’s sort of a always an issue in hawaii shipping and you know absolutely and wanting to you know whole pages and local things and try to somehow still meeting to I’d like to say in carbon impact. Nava standing. But you know come things coming from this direction to the mainland, I mean that we want to increase that.

I think, especially cultural and intellectual part of our our orientation is that that this is our main lab like this is this is the center of our world, and so from this this particular locus. Oh, we can then speak about what’s happening in Asia and North America. South America, from Vermont prospectus you’re in my way, and it’s a very different way of thinking about the world. On the other hand, I can, from a lot of media, that’s produced, for instance in New York City, and I’m always struck by how writers in New York City assume that everyone knows York City.

They talk about the geography New York City edge of is that the daily commute of everyone in a spot. Of course. No, of course it’s not, so I don’t feel bad about interesting that our point of view should be from Hawaii but and at the least, it’s a very interesting way of a female world, it’s different, which is what you’re creating a product. Nowadays, it’s all about being different but creates, have been differentiated from everything else is out there.

Well, I I would agree that sounds like good advice in chronic Creator, so why don’t we go ahead and talk a little bit about how the magazines structured and when why? So you know I know they’re. There may be some variation, but I know this: we have lifestyle, arts, industry, common teaching for tomorrow, so you know how you sort of put this together. I’r sure you know that illuminates those perspectives.

So why did you decide to sort of place the magazine up in this way? Well, so the the first section is called annoy doing and honor a new england’s rainbow in Hawaiian, and so our magazine does not have a Hawaiian name right its summit. So I thought we have one section in the magazine has a Hawaiian in that would be okay and I figure on balance. People around the world probably have seen the word on Lulu at some point.

If it comes to Hawaii, they probably seen other people or sports fans know that that’s supposed to be our our sports team at university. So that’s our life attention and we think of it as the place where you go for information about where to eat. Where to what to make with your alcohol collection at home? Oh you know we’re about take break okay and then, when we come back, we’ll talk more about the structure of the magazine start digging into some of the content, so we’ll be right back with each Idaho’s.

Be talking about some at 90 day and in just a bit Aloha. This is kayley giacchino with the weekly a hanukkah co. Let’s work together program on the state, a kawaii broadcast network mondays at two o’clock p.M. Movers and shakers and great ideas join us. We’ll see you then Aloha Aloha, I’m Callie, Lucas coast of Hawaii – is my mainland here on think too kawaii every friday at 3pm. We address issues and importance for those of us who live here on the most isolated landmass on the planet.

Please come join me fridays. At 3pm Mahalo Aloha, my name is John ye and I actually had a small part to do with what’s happening today, served actually in public office. But if you don’t already know that is the chance to learn more about what’s happening in our state. By joining me. For talk story with John, why he every other Monday, thank you, and I look forward to your seeing us in the future hi and welcome back to power of Hawaii, where Hawaii comes together to talk about a clean, renewable and just energy future.

We’re here with I. I caca who see of some publisher of summit magazine, and we were just talking about the different sections with a magazine and actually they can reach the magazine at wwe.Com correct. So let’s go ahead and continue our discussion about magazines, okay, so real briefly, the protection of Unknowing you language is the lifestyle. The second section is originals, which is art, artists, primarily musicians, and it’s bouquet features on folks will create culture.

Industry is the third section. I hope I’m get in order right. That’s like business features. Commons is the fourth section, and that is essentially international politics, politics and social issues and in letters it’s the final section and that’s. I think it is a sort of our new yorker moment where we get to do poetry and prose, and then we also have a summit shop where we work with producers here makers who are creating wonderful products and we help it sell their product Ellis.

Well, that’s that’s fantastic! I just again, I think it’s really important to talk to folks who are purveyors of perspectives and cultures, because if energy policy folks don’t sort of engage with the you know the thought, leaders and let us, but you guys know that what you do is important to Us then you know: how can we expect you to come to us and talk about how what you do is you know about? We do can be important to you, of course you know and why everyone knows.

You’ve got a hundred percent renewable energy goal and I know there’s a great piece this month that folks might be interested in about on solar, hot water heaters and the need to sort of think of them as being cooler and sexier. Then we may usually think about them, because they are a real solution and something that can be an answer and in a way also for low to moderate income folks to participate in energy.

So thank you for covering measure, and I should mention that it’s a piece that we did on shipping energy, that in partnership with yes with energy failure, which it’s on a great work. Yet in really pushing the you know pushing innovation Ford, which we desperately need. Yes, absolutely um, so I’d also like to talk about a couple of the other articles that I found to be just so fascinating, so one of them is called mana for the people and it sort of it’s a historical book back at the Polynesian Panther movement.

Could you talk a little bit about that? First of all, sort of how did you come across this topic and why did you decide the you know to go ahead and bring that forth and some it sure? So it’s a story that was processed by one of our contributing writers based on Australia, and you know I’m as a student myself of a social lumen. Lava has been fascinated with how social moods are adapted and kind of spread all throughout the world.

So one of those obviously people Black Panther movement and so what we. What we found in healing is is a very local, New Zealand, Mallory and tan Polynesian. An effort to take some of the energy and language and sort of intellectualism of the Black Panther movement and turn it into a Polynesian movement in in on table of New Zealand, and I should mention too that there’s you know they’re also similar things happening here in Hawaii, during the same time, period where you know folks were following what was going on all around the world and and building social movements that that copied either the effects of things like the Black Panther movement and also a lot of the substance.

A lot of the honor, the thinking behind you know what what was going on in, like Oakland, for instance. Why do you think that that particular is black, American and Caribbean cultural message resonated amongst folks in the it’s a good question? I think you can make an argument and I’ll just say I’ll, make the argument that the black culture in North America and the Caribbean has has really been a the most creative Wellspring of culture.

For for, like our modern age. And if you look at all of the cool stuff, that’s come out of come out of the United States, rated if jazz the blue, it’s hip-hop, it’s rap. You know all the things that have come out of out of black culture and that’s me I find it very inspiring because it’s really about a group of people who you know history should have could have written him off. You know and that group of people taking things that were forced on them and then turning it into the the tools of their own liberation.

It’s really a beautiful I’m sort of getting emotional. It’s a very beautiful. You know his historical trend. That happened. That’s very beautiful thing and is the siege of that sort of wealth, framing it it’s as culture and also the social movements and the social activism and the stories of oppression. I guess helped create this diaspora of of resistance right. I don’t know what to call it, but there’s something that was it music.

Was it the afros something resonated you know and for heiping perhaps still resonates today, something you know if you know when you look at the pictures and I’m sorry I don’t have them to share you know it’s sort of a it seemed like such a natural overlay. You know you hear about this person, you know in New Zealand, picking up, you know, Huey Newton’s work and you know you know, wearing a beret and putting on a jacket, and it just sort of you know that the overlay is almost kind of seamless and what They decided to do in terms of helping young people with homework, and you know having at you working with after school, like was also very similar to seeing kind of scene.

We are trying to get it. What kind of I think part of? What’s going on in that particular in a particular episode they were describing is: is that we all you know everyone in for the english-speaking modern world. We also to live in one culture right and it’s a culture that is broadcast out through Hollywood and and and so everyone sort of share in what’s happening to this math English language, culture and as a result of that, the cultural minorities, even you know, in Hawaii Native Hawaiians are our minority of sorts in all table of New Zealand, even though there are some large percentage of the population under the exact number, but Maori are still treated as a minority in that community in that in that country.

What you have, then, is this situation where you have this kind of monolithic, English, language, culture and within that model of the culture black culture is it’s sort of the other, but it’s a very powerful other. It’s just an incredibly vibrant and and powerful and creative space. Where r alliteration can take place, and so I think when that culture touches places like New Zealand or Hawaii, it becomes a place for all the folks who don’t get to be.

You know the white man at the table we all get to play with in the black culture, because it’s so accepting and we can all find a void. There, take a look at in Hawaii. You have like the the movement – I think of God, like John John Prante, know, who’s leading the 808. The 808 girls furminator way. Excuse me, the Irving, a delayed group and they’re working with kids, who are using sort of the visual language of hip-hop, the visual language of street art of aerosol art to to tell their own story, because that is an available medium.

You know they can’t find a space in the light dominating culture, for the black culture is actually a an accepting place. I still interesting in the and the article talks about how did you know in this Polynesian, Panther movie movement in the seventies it began to become a app and polynesian pan-pacific. You know sort of diaspora sort of a movement to unify the Diaspora and reached out to you know, movements in South Africa, and so yes, I mean and that we are all applicant and one regarder another.

Originally, that’s that and I was going to ask – and you know I know so you this is in the current issue. So what isn’t? How do you think you know this topic is important today? Well, just pop my head, we live in incredibly interesting time. Right yeah. We do I’ll be there. It’s sort of amazing unbelievable that it’s been a month barely a month since the newly Trump aaron has taken place. But it’s a time where so many social limits are in communication, with each other able to find more and love and solidarity with each other code access pipeline 17.

Well back when we got ya, you know look at things like the the women’s for women’s bar yeah yeah on Inauguration Day. What was amazing about that for me was just how incredibly rich and multi multi everything those margins were so much more than like. The official inaugural events and the sort of kind of monoculture that you see in those in the Trump phenomenon you know what’s happening with the people is the people are getting together, and we need to celebrate that all these moon, all these people, that that coalescing is An incredibly powerful historical trend that I don’t think we’ll ever stop.

You know it’s in some ways: it’s an unraveling of of the way in which people have been divided last 500 years. Okay, it’s so interesting, I feel like we could have a whole show about that. In terms of what’s coming together and what some of the some of the challenges and the fissures some for very reason – and you talk about energy wave yeah well, I like that. What I wanted to get to I could talk about that.

We don’t have a lot of time, that’s what I really wanted to get to. Is this interesting article or you interviewed and economist who has an idea? This is the name of the actual name of the owner, described as universal basic, universal, debut accountant. So, basically, this concept that there can be a situation where everyone gets a taste income-based income and what that? What that means, in terms of you know in terms of fighting economic development and particularly for the poor, so tell us a little bit about why about this and why you chose protocol it your local bakery in communist.

Oh, thank you, be. I felt like yeah something you get. You don’t want to talk about yeah, but so the idea that we’re moving to an economy with less enough people where you don’t actually need people to do to the logical appropriation, ization yeah right. So the edges, you create a tax regime that would that would take all of the benefits of this in credit increase in the cumulus economy and then share that benefit with the people, so that people can still get some still get some value from that later.

With drug and gosh I, this is my fault for lingering, but we’re not going to have as much time to dig into that fascinating Barry, as I had hoped I would, but is how can people find summat magazine so summit, is on learn about 400 stores across United cason at most barnes nobles, you can find a copy of summit. You can also find a bit before seasons or or the lotus honolulu to find us at whole foods all throughout the states and department, with your own wan na, have the copy and maybe at a doctor’s office or a lawyer’s office to you know we’re all over The place or you go to summon team comm service, alright, well, fantastic.

Thank you so very much for sharing about this magazine and some of your fascinating perspective. Thank you so much for that baby and that wraps up another issue or another edition of power of Hawaii. I’r why assaulter energy attorney and clean energy advocates community outreach specialist. Thank you so much Mahalo and aloha. You


 

Categories
Online Marketing

Covering Global Issues – Ideas, Style and Smart Living with Summit Magazine

I am your host Ryan Salter, I’m an energy attorney, clean energy advocate and community outreach specialist, i’m also the principal attorney of imagined power. Llc got some exciting stuff. Today, we always say here on the show that it’s important to engage all stakeholders in the energy conversation, including those who may not be traditionally engaged in energy policy.

I think this prominently includes our communicators reporters and storytellers as it they you keep the public informed, engaged and educated about arts, culture, news and current events. So it’s not often these days that you come across a print magazine that just blows you away with its beauty, style and content, but that is what happens to me when I came across this month. Edition of summit magazine summit is Hawaii’s global magazine with in-depth coverage.

Art design style, business, civics and literature in the Hawaiian who’s beer summit connects Islanders and global travelers to the very best perspective, purveyors and products of the archipelago. I has between here today, akaike Hussey, the publisher and editor of summit magazine with us here in the studio today, so it kind of resides in co-ed and as a longtime leader in the community in a wide variety of areas he’s on the board of the domestic Violence, Action Center and the Hawaii Alliance for progressive action, just innings, you akaike, is a teacher author and thought leader with in his word.

The common goal of strengthening our Island home akaike earned a master’s degree in political science from the University of Hawaii at Manoa and is currently studying economics via the university of london and the London School of Economics. So, with all of that said, welcome ipega. Thank you. Riah so summit magazine, I think, is just it’s just gorgeous. I just you know I hadn’t come across it before and I was just so blown away by the 50 intriguing content, the the beautiful pictures, fashion style and yet still this really deeply intellectually engaging approach.

Global approach, so I’m just so excited to have you here to talk a bit about the magazine. Thank you, but first before we do, maybe you could tell me a little bit about yourself and your background and how you came to become a magazine, publisher sure. Well, I came to media from pro very unconventional path. I I came to it as as a person who had to offer up and talk to the media about things that are happening in the grassroots community, and so I come out of sort of an organizer community activism background fantastic.

What kind of wood that McGee renew a lot of our engaging with the news with what type of stuff for you? After a lot of things in the native blind community self-determination, sovereignty, demilitarization, land rights convention right things? And it was often by my job within our various hui tou to be the person who would go and talk to the press. I would read the press releases. I prayed the flyers and do that kind of thing, and what I realized was our press.

Our our media have an incredibly important responsibility and a lot of power and and it could be used, it could be used for incredibly wonderful things. My concern is, you know when I first started comin in the Hawaii independent was: was that oftentimes Native Hawaiians retreated sort of the problem? You know the wireless guys by those Hawaiian protesting, and the fact that we were protesting was was the problem, as opposed to the issue that we were protesting about being the problem.

So I wanted to flip the lens a little bit and to speak from speak about the world from a Hawaiian perspective instead of having media that just covers Hawaiian. So I want to tell a big different kind of story and then what was available in the in the media of the time wow that is so interesting sort of whatever you say. So the problem was speaking out. You know if only they would be quiet and not talk about these things, and so you were like let’s go ahead and and talk about these things.

Authentically is what I’m hearing right: ships, who’s speaking and shift a speaking and so a couple years ago. I was thinking about a lot about how do we how to create something? That’s really powerful and wonderful. Coming on Hawaii, I wanted to speak to a more global audience from a whole trigger a distinctly hawaii and hawaiian point of view, and it’s always been rattling around. In my my mind, this is quote from queen kapiolani, who was the spouse of David Clarke.

All of the last king of Hawaii – and it was during a time when Hawaii was very much a global place. It was much more cosmopolitan and had a very kind of modernist perspective and orientation, much more so than it than it did in the 20th century and her model. Kapila news model was coolio canoe, which means drive for the summit and try to achieve the very best that we can as an island community. And I think that the neat idea, and so what my goal with this particular publication, is to to try to elevate expectations.

For what Hawaii can be in this 21st century, to showcase the amazing people who are doing great things and media, like my pink tech or in fashion or in culinary arts, and a show that we really have a lot to offer the world? And so that’s about. Sixty seventy percent of the magazine and the other thirty forty percent is kind of straight up: international politics and business. So we cover big ideas that are driving the world right now, like the idea of universal basic basic income, which there comes from about later so, which is which is so interesting yeah.

I hope you know I well. I think it’s interesting, I think folks, reading low as well. So how does I’m curious? So how did you go from? You know the you know, writing the press releases. The sort of you know having this. You know international. You know magazine. Well, you know. Thankfully, we live in a time when a lot of the effort that it you should take to create on publication has been. It was blocked, easier, wordpress and Amazon Web Services and all of the a kind of readily available technology that the Internet has offered to us.

I started doing websites when I was like 17 or 18 years old in high school, and it was very much for him tinkering around and creating a pretty really simple website, so I launched an online news website called the whole independent in 09. Okay, I can remember just because my daughter was born right as I launched it, and I have this crazy habit of starting differences when carried I so you know it was relatively easy to get that off the ground just because with technology you know you must have Good enough to print and hire a truck to deliver yeah physical newspapers that make sense that yet at the same time, I think it must have also been you know your works at the knowledge and roots in the community.

You must have known a lot of artists because you can have all the trucks to drive and fancy print things in the world and not have sort of photographs of of the beauty that you have, and you know the richness of content so well. Some of the degrees, an art and a science summit really is a team effort. I play a. I would be a pretty minimal role in the actual creation of this. This thing that you have in your hands on the table.

We have an excellent art director and excellent in a managing editor, who really make them anything happen and copy editors and writers. Who, who put you, know wonderful thought into their words. I just help with, like. I literally drive amazing around people and try to set up the revenue so that it can keep going well, I’m always in a very important function, the audience for something who’s the audience.

So we have our core demo it’s sort of 35 to 45 year old. So, like you know me it dollars users when you create something for someone that you you know well, I happen to be right in the middle of that that demo ravi speaking mr. Department of mass affluent. So not quite though one percent – but you know, people who are professionals their business owners, they’re, deeply engaged in the life and our civic life.

They they made themselves have significant assets. We and we certainly have a lot of readers with with poor, very affluent, like I want to be in this integr attic me too, and so that that’s probably the age and income distribution and then geographically, we’re writing for an audience. That’s here, but also an international audience, so we have readers in Japan, their readers. We have read adult route: north america – I have a subscriber in slovenia that I need to send a get into, and you know so that’s where it it’s ironic now that i’m printing of physical magazine to get them with the deal the logistics of moving this.

You know 200 pages mmm paper around the globe while trying to trying, as best we can to mitigate the carbon impact, which we should talk about. Of course. But and that’s you know, that’s sort of a always an issue in hawaii shipping and you know absolutely and wanting to you know whole pages and local things and try to somehow still meeting to I’d like to say in carbon impact. Nava standing. But you know come things coming from this direction to the mainland, I mean that we want to increase that.

I think, especially cultural and intellectual part of our our orientation is that that this is our main lab like this is this is the center of our world, and so from this this particular locus. Oh, we can then speak about what’s happening in Asia and North America. South America, from Vermont prospectus you’re in my way, and it’s a very different way of thinking about the world. On the other hand, I can, from a lot of media, that’s produced, for instance in New York City, and I’m always struck by how writers in New York City assume that everyone knows York City.

They talk about the geography New York City edge of is that the daily commute of everyone in a spot. Of course. No, of course it’s not, so I don’t feel bad about interesting that our point of view should be from Hawaii but and at the least, it’s a very interesting way of a female world, it’s different, which is what you’re creating a product. Nowadays, it’s all about being different but creates, have been differentiated from everything else is out there.

Well, I I would agree that sounds like good advice in chronic Creator, so why don’t we go ahead and talk a little bit about how the magazines structured and when why? So you know I know they’re. There may be some variation, but I know this: we have lifestyle, arts, industry, common teaching for tomorrow, so you know how you sort of put this together. I’r sure you know that illuminates those perspectives.

So why did you decide to sort of place the magazine up in this way? Well, so the the first section is called annoy doing and honor a new england’s rainbow in Hawaiian, and so our magazine does not have a Hawaiian name right its summit. So I thought we have one section in the magazine has a Hawaiian in that would be okay and I figure on balance. People around the world probably have seen the word on Lulu at some point.

If it comes to Hawaii, they probably seen other people or sports fans know that that’s supposed to be our our sports team at university. So that’s our life attention and we think of it as the place where you go for information about where to eat. Where to what to make with your alcohol collection at home? Oh you know we’re about take break okay and then, when we come back, we’ll talk more about the structure of the magazine start digging into some of the content, so we’ll be right back with each Idaho’s.

Be talking about some at 90 day and in just a bit Aloha. This is kayley giacchino with the weekly a hanukkah co. Let’s work together program on the state, a kawaii broadcast network mondays at two o’clock p.M. Movers and shakers and great ideas join us. We’ll see you then Aloha Aloha, I’m Callie, Lucas coast of Hawaii – is my mainland here on think too kawaii every friday at 3pm. We address issues and importance for those of us who live here on the most isolated landmass on the planet.

Please come join me fridays. At 3pm Mahalo Aloha, my name is John ye and I actually had a small part to do with what’s happening today, served actually in public office. But if you don’t already know that is the chance to learn more about what’s happening in our state. By joining me. For talk story with John, why he every other Monday, thank you, and I look forward to your seeing us in the future hi and welcome back to power of Hawaii, where Hawaii comes together to talk about a clean, renewable and just energy future.

We’re here with I. I caca who see of some publisher of summit magazine, and we were just talking about the different sections with a magazine and actually they can reach the magazine at wwe.Com correct. So let’s go ahead and continue our discussion about magazines, okay, so real briefly, the protection of Unknowing you language is the lifestyle. The second section is originals, which is art, artists, primarily musicians, and it’s bouquet features on folks will create culture.

Industry is the third section. I hope I’m get in order right. That’s like business features. Commons is the fourth section, and that is essentially international politics, politics and social issues and in letters it’s the final section and that’s. I think it is a sort of our new yorker moment where we get to do poetry and prose, and then we also have a summit shop where we work with producers here makers who are creating wonderful products and we help it sell their product Ellis.

Well, that’s that’s fantastic! I just again, I think it’s really important to talk to folks who are purveyors of perspectives and cultures, because if energy policy folks don’t sort of engage with the you know the thought, leaders and let us, but you guys know that what you do is important to Us then you know: how can we expect you to come to us and talk about how what you do is you know about? We do can be important to you, of course you know and why everyone knows.

You’ve got a hundred percent renewable energy goal and I know there’s a great piece this month that folks might be interested in about on solar, hot water heaters and the need to sort of think of them as being cooler and sexier. Then we may usually think about them, because they are a real solution and something that can be an answer and in a way also for low to moderate income folks to participate in energy.

So thank you for covering measure, and I should mention that it’s a piece that we did on shipping energy, that in partnership with yes with energy failure, which it’s on a great work. Yet in really pushing the you know pushing innovation Ford, which we desperately need. Yes, absolutely um, so I’d also like to talk about a couple of the other articles that I found to be just so fascinating, so one of them is called mana for the people and it sort of it’s a historical book back at the Polynesian Panther movement.

Could you talk a little bit about that? First of all, sort of how did you come across this topic and why did you decide the you know to go ahead and bring that forth and some it sure? So it’s a story that was processed by one of our contributing writers based on Australia, and you know I’m as a student myself of a social lumen. Lava has been fascinated with how social moods are adapted and kind of spread all throughout the world.

So one of those obviously people Black Panther movement and so what we. What we found in healing is is a very local, New Zealand, Mallory and tan Polynesian. An effort to take some of the energy and language and sort of intellectualism of the Black Panther movement and turn it into a Polynesian movement in in on table of New Zealand, and I should mention too that there’s you know they’re also similar things happening here in Hawaii, during the same time, period where you know folks were following what was going on all around the world and and building social movements that that copied either the effects of things like the Black Panther movement and also a lot of the substance.

A lot of the honor, the thinking behind you know what what was going on in, like Oakland, for instance. Why do you think that that particular is black, American and Caribbean cultural message resonated amongst folks in the it’s a good question? I think you can make an argument and I’ll just say I’ll, make the argument that the black culture in North America and the Caribbean has has really been a the most creative Wellspring of culture.

For for, like our modern age. And if you look at all of the cool stuff, that’s come out of come out of the United States, rated if jazz the blue, it’s hip-hop, it’s rap. You know all the things that have come out of out of black culture and that’s me I find it very inspiring because it’s really about a group of people who you know history should have could have written him off. You know and that group of people taking things that were forced on them and then turning it into the the tools of their own liberation.

It’s really a beautiful I’m sort of getting emotional. It’s a very beautiful. You know his historical trend. That happened. That’s very beautiful thing and is the siege of that sort of wealth, framing it it’s as culture and also the social movements and the social activism and the stories of oppression. I guess helped create this diaspora of of resistance right. I don’t know what to call it, but there’s something that was it music.

Was it the afros something resonated you know and for heiping perhaps still resonates today, something you know if you know when you look at the pictures and I’m sorry I don’t have them to share you know it’s sort of a it seemed like such a natural overlay. You know you hear about this person, you know in New Zealand, picking up, you know, Huey Newton’s work and you know you know, wearing a beret and putting on a jacket, and it just sort of you know that the overlay is almost kind of seamless and what They decided to do in terms of helping young people with homework, and you know having at you working with after school, like was also very similar to seeing kind of scene.

We are trying to get it. What kind of I think part of? What’s going on in that particular in a particular episode they were describing is: is that we all you know everyone in for the english-speaking modern world. We also to live in one culture right and it’s a culture that is broadcast out through Hollywood and and and so everyone sort of share in what’s happening to this math English language, culture and as a result of that, the cultural minorities, even you know, in Hawaii Native Hawaiians are our minority of sorts in all table of New Zealand, even though there are some large percentage of the population under the exact number, but Maori are still treated as a minority in that community in that in that country.

What you have, then, is this situation where you have this kind of monolithic, English, language, culture and within that model of the culture black culture is it’s sort of the other, but it’s a very powerful other. It’s just an incredibly vibrant and and powerful and creative space. Where r alliteration can take place, and so I think when that culture touches places like New Zealand or Hawaii, it becomes a place for all the folks who don’t get to be.

You know the white man at the table we all get to play with in the black culture, because it’s so accepting and we can all find a void. There, take a look at in Hawaii. You have like the the movement – I think of God, like John John Prante, know, who’s leading the 808. The 808 girls furminator way. Excuse me, the Irving, a delayed group and they’re working with kids, who are using sort of the visual language of hip-hop, the visual language of street art of aerosol art to to tell their own story, because that is an available medium.

You know they can’t find a space in the light dominating culture, for the black culture is actually a an accepting place. I still interesting in the and the article talks about how did you know in this Polynesian, Panther movie movement in the seventies it began to become a app and polynesian pan-pacific. You know sort of diaspora sort of a movement to unify the Diaspora and reached out to you know, movements in South Africa, and so yes, I mean and that we are all applicant and one regarder another.

Originally, that’s that and I was going to ask – and you know I know so you this is in the current issue. So what isn’t? How do you think you know this topic is important today? Well, just pop my head, we live in incredibly interesting time. Right yeah. We do I’ll be there. It’s sort of amazing unbelievable that it’s been a month barely a month since the newly Trump aaron has taken place. But it’s a time where so many social limits are in communication, with each other able to find more and love and solidarity with each other code access pipeline 17.

Well back when we got ya, you know look at things like the the women’s for women’s bar yeah yeah on Inauguration Day. What was amazing about that for me was just how incredibly rich and multi multi everything those margins were so much more than like. The official inaugural events and the sort of kind of monoculture that you see in those in the Trump phenomenon you know what’s happening with the people is the people are getting together, and we need to celebrate that all these moon, all these people, that that coalescing is An incredibly powerful historical trend that I don’t think we’ll ever stop.

You know it’s in some ways: it’s an unraveling of of the way in which people have been divided last 500 years. Okay, it’s so interesting, I feel like we could have a whole show about that. In terms of what’s coming together and what some of the some of the challenges and the fissures some for very reason – and you talk about energy wave yeah well, I like that. What I wanted to get to I could talk about that.

We don’t have a lot of time, that’s what I really wanted to get to. Is this interesting article or you interviewed and economist who has an idea? This is the name of the actual name of the owner, described as universal basic, universal, debut accountant. So, basically, this concept that there can be a situation where everyone gets a taste income-based income and what that? What that means, in terms of you know in terms of fighting economic development and particularly for the poor, so tell us a little bit about why about this and why you chose protocol it your local bakery in communist.

Oh, thank you, be. I felt like yeah something you get. You don’t want to talk about yeah, but so the idea that we’re moving to an economy with less enough people where you don’t actually need people to do to the logical appropriation, ization yeah right. So the edges, you create a tax regime that would that would take all of the benefits of this in credit increase in the cumulus economy and then share that benefit with the people, so that people can still get some still get some value from that later.

With drug and gosh I, this is my fault for lingering, but we’re not going to have as much time to dig into that fascinating Barry, as I had hoped I would, but is how can people find summat magazine so summit, is on learn about 400 stores across United cason at most barnes nobles, you can find a copy of summit. You can also find a bit before seasons or or the lotus honolulu to find us at whole foods all throughout the states and department, with your own wan na, have the copy and maybe at a doctor’s office or a lawyer’s office to you know we’re all over The place or you go to summon team comm service, alright, well, fantastic.

Thank you so very much for sharing about this magazine and some of your fascinating perspective. Thank you so much for that baby and that wraps up another issue or another edition of power of Hawaii. I’r why assaulter energy attorney and clean energy advocates community outreach specialist. Thank you so much Mahalo and aloha. You


 

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Online Marketing

UI Elements at 60fps (Progressive Web App Summit 2016)

I kind of wanted to put that into a little bit of context when we talked about performance historically on our team. Last year year and a half we’ve talked about a thing called rail and rail stands for response, animation, idle and load, and it’s a way of thinking about performance that puts the user in the middle and lets us figure out what they expect from things.

So, for example, if you tap on a screen, you expect something to be coming back on screen in under a tenth of a second. If you scroll or there’s a transition, that’s an animation, and we want that at 60 frames. A second idle is a bit of a funny one, but the general idea is that you should do work when the user isn’t interacting and when there’s opportunity to do so when the main thread has some time and we do those in 50 millisecond chunks.

So we can keep responding to users and loading. You want to keep the user on their train of thought, and so you’ve got about a second to get something up on screen, whether that’s from a cache for the network. Now, when we talk about rail, this is the kind of world view. Then I think many of us have today we kind of go yeah responses. Ok, yeah! We don’t need to be lucky, that’s fair enough! It’s kind of important scrolling animation.

It definitely heard that’s a thing and that’s something I want to make sure is good idle. Yeah sure seems good load load, yes, whoo back in the safe, ok load, yeah man, if I can catenate all that good stuff, but here’s the thing this is kind of where we’re thinking of being on people’s home screens and a closer look at that home screen Raises an interesting question which of these is the progressive one up which of these is the native web app? The truth is users don’t care what they care about.

Is that the thing that they tap on works really well and they would never say something: oh wow. It skipped things there you go back would go rewind, okay, nobody ever going to say this, and if they did, it was something ice. That up looks like native. I hope it behaves like it. There you go, they expect it to behave like a native app. They expect your stuff to run. Well, I want to say, behaves there, we go hello behaves for me is like performance, and it’s about.

Does it behave as we expect? Is it do the things that you know and interact with it? Just do the right things right, since that’s the case, I think we can reevaluate rail to look more like back bad clicker more like this, the response part of rail. Well, we expect our responses to be instant like every time instant. So that’s just now more important. Animations yep they’re down there and there we go they’re going up there, because we expect again, we expect instant transitions.

We expect you know scrolling to be super smooth idle. Well now, if we’re doing more work, to make responses and animations good idle is something we’re going to have to be more tactical about we’re going to have to do some work when the user isn’t, and we have things like requests idle callback for that, so idle. Just went up good news, though I think, if you’re expecting somebody to add you to home screen and run your stuff lots of times.

Hopefully, you’re going to have a serviceworker, hopefully you’re, going to be running from a cache and therefore I think load drops down to here. I don’t think it’s unimportant. Don’t get me wrong. You still got to do a good job to get that first load there, but I think over time I think that’s what we’re talking about so, if you’re being home screen minded. I think it looks more like this and I think, if you think about the the native apps, that you run, you have a similar expectation.

You don’t ever sit there thinking about well, this APK took a long time. You know when you’re using it for the 50th time you’re thinking more about how this actually behaves, whether it’s got the features you want and so on. So with that in mind, I wanted to talk about three individual components, but they give me an excuse to talk about about a bunch of other things and I can explain, I suppose, the way I categorize my components from deterministic.

We know up front. We can hard code the values, those animations and interactions through something that’s a little bit less known upfront all the way through to something where we’ve got no idea about how it’s going to behave until somebody actually clicks on the thing, or we have a little bit Of an idea, but not much so those three components are a side, nav some swipeable cards and then expand and collapse view, let’s jump straight into the side navigation, which I think most of us I’ve seen before seen these you ever seen these quite a lot.

So what, although, for each one of these I’ll, explain the theory of how I would approach them to maintain performance and to kind of be performance minded? I will be leaving probably some glaring omissions in the area of accessibility, but just as well Bob Dodds coming on next and he’s going to talk about accessibility. Oh it all fits together wonderfully anyway, the theory for the side nav. What we’re going to do is we’re going to pop on a containing element over the top of all our content, into which we can place a semi-transparent black, a background to obscure our content and then we’re going to have this contents bit with our actual side.

Nav. In it, which will slide in from the side like so so, the CSS for something like that for that containing element, it’s going to be positioned, fixed left:0, top:0 width and height 1 %. Some people like to do write 0 bottom 0. That’s fine works just as well overflow, hidden because we don’t want any scroll bars, but the pointer events. One is a bit of an interesting side step that I want to take it lets me talk about something that’s kind of like a primed element, so these are elements where you you want that thing to be ready to go, and the sign now is one of Those because, when a user taps on the button, they expect the side nav to just come throughout right.

So the general idea behind a primed element for me is that it’s something that could be activated at any time: okay, like a side, nav yeah, it probably fits that bill and if you were to toggle its visibility, it would take more than 100 milliseconds, as in Because they’re, probably at a tap a button and you ray’ll, tells you you’ve got 100 milliseconds to respond if you take longer than that, it’s going to feel lucky.

So these are my sort of two criteria. As I say, I’m leaving a glaring omission where’s. The regards accessibility so hold on to your hats for that bit coming next, but all the same we have around on. I think this is a primed element. I think it fits and as such we can take a couple of shortcuts, one of which is we’re going to promote the content bit to its own layer and, if you’re not familiar with layer promotion.

The idea is, you want to separate out an element from the rest of the page so that when you paint it or move it around, you don’t affect any other element on the page. It’s the same kind of deal. Is you know if you are not packaged whatever you create a layer and you can mess with the pixels in it and you don’t mess with anything else now? The easiest way to do that today, to create one of these layers called a compositor layer, is to use, will change transform.

So if you imagine the simplest possible page with a photo of bald idiot and a nice guy – and you put will change onto said image now, you can move it around with a transform and you can see that it’s kind of separate from the page. Obviously, this isn’t happening in real time, but it’s it’s the idea of separating these things out now you may be sitting there thinking that seems like a great idea star.

Will change transform burn that from your mind? Okay, if I’m not clear, don’t do it! The reason you don’t wan na do it is twofold. Firstly, you’ll want to keep your memory usage down, especially on a mobile device. If you create layers you’re going to use memory, you’re going to have management you’re going to have textures on the GPU all that kind of stuff, so you want to do this as needed now with the primed element, I’m going to make the argument that you probably Want to do something like the will change in your CSS, but in other cases, where it’s not known until you start interacting, you probably do the will change in your JavaScript.

The other reason is you want to keep your time in compositing to a minimum. Compositing is where we take all those layers and we squish it back together and put the pixels up on screen now, of course, if you made lots of layers, that’s a lot of depth, sorting, it’s a lot of management, and it’s a lot of putting back together That takes time, so you want to be tactical about this, so we’ve got our promoted layer and, as you can see in the CSS I’m going to put will change transform on it like so and then come back, then yeah I’m going to transform the contents off To the left, by a oddly specific 102 percent and if you’re curious about that is because I’ve got a shadow, and I just do an extra couple of percent to hide it, cheating, but that’s programming.

You know it’s just cheating right sometimes and I’m a cheat when it comes to programming, I’m very, very, not otherwise, especially not when playing little games with my kids, I’m very fair, never cheap anyway. Eventually, the user is going to tap on a button and that’s going to show the side nav, which in this case is just going to add a class in that class, is going to remove that 102 percent fairly straightforward.

And we get something like this, where it slides in from the side that semi-transparent black black background is the same kind of deal here. We’re going to do a will change of opacity from an opacity value of 0 to an opacity value of 1 and getting rid of it like so it’s just going to be the same in Reverse, we’re just going to remove that class. Everything goes back. It’s great and we could just do that, but it’s like hide side nav, which I put on the containing element.

So if you click anywhere, I’m going to hide the side nav, which is a bit bad, if you actually click on something in the side nav. So the way to get around, that is, to just add an extra handler for that particular situation, which cancels the click which is just a stopped propagation, so I’m kind of canceling the click and it works out really well, in fact so well, this is what it Looks like in reality, this is one that Surma and I built.

This is actually running on a nexus 5x and you can see you know slide out slide in. I actually added a bit of drag thing to it, which you can see if you want to afterwards. When you take a profile of this in the dev tools timeline, which is kind of what you want to be doing with all your UI elements, I have the side nav sliding in and sliding out, which doesn’t look very big. So, let’s zoom in you can see that green chunk is the frames per second and we’re hitting a nice comfy 60 frames a second on our Nexus 5x and below.

It is the amount of work frame which is pretty low because we’re not doing much we’re just using transform changes if you’re interested in seeing that actually being built for real there’s the TL DW and is also a live stream, which was about an hour long with Me and Surma, where we built the side, nav books and everything it was great, but you can catch that if you, if you haven’t seen it so, let’s move on since we’ve done the essentially done the fully deterministic hundred and two percent, nothing.

We can move on to this swipeable card, which is a little more interactive, a little more dynamic. So that’s this one you’ve seen it probably some that Google, now you know just ours and it slides up to take its place. The theory here is again. We want to promote to a layer for the thing that’s being interacted with, but we want to do that on demand. We don’t want to do this one ahead of time, because if you had a lot of cards, that’s a lot of layers and a lot of memory usage, not a good idea.

We also want to use transform and opacity as well, because we’re going to transform this thing off to the side and from a kind of behavioral point of view. If we want it to fade out, because that gives the idea of being dismissed, it’s it kind of something the user would expect now. At this point, I want to take a little bit of a detour and talk about kind of game loopy stuff, which is something that any game developer would be like yeah and it’s extremely useful in this situation.

What we want to do in these kind of cases is decouple our input, which can happen fairly, sporadically and whatever, from the actual rendering and drawing you bit. We should expect from a game because your character stood there. You don’t want to you know you want the kind of game to keep moving, even when you’re not moving the character right same kind of thing. We want this animation to keep going, even when we’re not actually doing touch.

Events, for example, and the way we do that is, we call requestanimationframe for every frame of the interaction and we’ll give it our update function, which you know the nice side effect, gives us a function that we can just call to be like just draw it. Even when there’s nothing else going on now, we’ve got a touch move at the start of the frame. Well, that’s, okay, we’ll just use it will distort its value and we’ll pick it up in the requestanimationframe.

If it comes in a little bit late or it doesn’t come in at all no big deal, we’ll just use the last known good value. If, by some weird weird chance, we actually got two or more well again we’re not doing work per input event we’re the only going to do it once per frame and we’re just going to use the last known good value, that’s good. So this is a model that you probably want to adopt. If you haven’t already for this kind of work now we get to the actually to adding the event listeners and fair enough, I’m going to share them between Mouse and touch.

I think pointer events might help a little bit here, but you know I’ve got this so touchstart touchmove touchend, so on and as a side note, the adding of these touch handlers to the document is bad. Generally speaking and the reason it’s bad is this: really? You have on the compositor thread, which gets the user touch. It’s the one that actually is told about the interaction first and by default. It would do something like scrolling.

It would just move the page up and down, but we registered a touch move, and that involves the main thread and if the main thread was busy or our touch move, just ran for a long time. For some reason, then, eventually to come back and the frame will be shipped, but in between that we’ve blocked the user oops. So that’s not as good, and there is a way around this it’s new as of I believe, chrome, 51 and it’s in opera and Firefox.

It’s in development, according to Chrome status, same with WebKit, but this is encyclopedia large, obviously, and I’m not sure about age. I can check with the folks on that team. However, what we do is we add this passive, true to the event listener. One that says is, I won’t call prevent default, I’m not going to do it. So don’t worry about waiting on me in order to do the thing you’re going to do still give me the events and give me the information, but I’m not going to prevent default.

Okay and then the browser goes cool. I won’t block then I’ll just get on with it. That’s great. So, anyway, back to where we were. We have our event listeners and we talked about what they are going to do. For example, we have this card, it’s in the start exposition. So what we’ll do is tapped on it we’ll go to our on start, which is going to basically ask for the position which lie to be paychecks or the first touch.

Events, page X and then we’ll add, will change on it dynamically, which will give us a bit of a hit because we have to create the layer and everything. But it’s probably going to be. Ok. Probably now you actually move your finger across and we have to category in what’s the new position, which is fairly straightforward, it’s the same kind of deal. We just tracked the page X or the first touch events page X and since we know where we were and where we are, we can figure out what the translation should be, such that in our update function.

We can say if you’re dragging the card, your translation is the current minus the start and what we will do is we will apply a transform with that value. Great stuff, that’s going to work, we’re going to be able to slide across. We can change the opacity and the same in the same kind of way, but we now need to think about the next part, which is I’m kind of dismissing the card right or I don’t go far enough and it comes back to the middle so kind of This is the behavioral bit, so if we consider a normalized distance, so it’s at 0.

If it was out to the side, we could say that’s position 1 or back in the other way. That’s also position 1. All we can do is we can come to throat. These thresholds, I put them in 0.35, when I was doing this, you could pick naught point 3, 6 or something else entirely. It’s very exciting. What will I choose today? Who knows that’s web dev, so I put an all point three five and if you don’t know, Pratt’s, not point three, five, I’m going to slide back to the middle.

If you do go past, not point three, five, I’m going to dismiss the card fair enough. Okay, so that’s in the the on end, like so oh yeah, threshold card width times by not 0.35, and it’s is this – is this target x value which we’re going to come on to in a moment it’s defaulting to zero? If you go past the threshold, we’re going to choose, either the card width or card with, depending on which direction you were going okay, and we can pick that up in the the else here, where we say translate x, plus equals target X minus translate X, all Over four and if you’ve been around for a while – and it done this kind of work – you probably recognize this if you haven’t very exciting little one-liner, that is incredibly helpful when you want to do what I call the easiest easing in the world or easy inning Easy takes always takes this form.

Okay, it’s value plus equals target value all over strength, and I genuinely have made other developers like memorize that, because it’s incredibly helpful, let me show you what I mean worked. Example. Let’s say you want to get this box from zero to a hundred and you basically target value. So it’s 100 zero all over strength, which is four we’ll move. It 25 pixels cool on the next iteration. It’s a hundred minus 25, which is 75 all over the strength, which is four, that’s 18 point, seven five and, as you build it up, you’re going to see that it’s going to slow down because there’s a nice kind of slowdown easing feel for this, so that Your box would go mmm sound effects, not included okay.

So that’s this one line, but it’s an incredibly helpful line. It’s either than that users back to zero, which can ease us to the card dismissal point now we need to detect doneness. There’s no better word for what we’re doing here. Is this animation done? Can I say that we’re finished with this? Okay? The way we do that is well, it’s either you go there and back to the middle, fair enough, in which case we can just say.

Are you nearly at the start? If so, yeah you’re probably done I’ll work that’ll get us most of the way there. If you are just reset the target allow the user to interact again. Other one is basically, you slide. You’ve done the slide out to the side like so, and we also know that we’re going to fade out the card. So I mean this is pretty cheeky, but we can just ask: is the opacity really really low if it is it’s nearly invisible? If it’s nearly invisible, it’s going, it’s going going gone and, in fact gone so much that we’re going to remove it from the Dom with remove child like so now that will cause all the other cards to jump up immediately, because the Dom yeah we took our Element until the other ones went full cool, there’s some space, let’s take it, which we don’t want.

We want them to animate. We have this function. That says, is what there’s and it looks like this. You know that kind of slide up there. You go. That’s the thing you want, so what we do is in our animator the cards into position. What we’re going to do is we’re just going to ask for the current card and we’re going to step through all the remaining ones like so and we’re just going to. Basically, push them down straight down by a cards height, so you go back down to where you were.

Please just ignore the fact that we just removed a card. You stay where you are, and then what we’re going to do is we’re going to wait a frame for that to take hold because styles will run after the end of our JavaScript cool and then what we’ll do is we’ll switch on a transition on transforms and We’ll get rid of it and that’ll cause all the cars to go and that’ll look great cool, and then, when we’re done, we can reset the target and in reality this is what it looks like.

This is another one that server and I built again. It took an hour there were bugs weird, so you go slide swipe it’s great. If you have two timeline and you were to take a recording of that again zoom in and it’s actually in two parts, this one the left-hand bit is the car dismiss. What are you doing slides? Don’t do that to me. I maybe it’s me and Jake. Maybe maybe we just there’s something bad going on, I’m blaming Jake.

It was all fine until Jake came on stage and everything broke for him. Interesting coincidence. Yes, so the car dismissal. That’s right there and then there’s the other bit here, which is sliding the card and you see, there’s a little dip at the start and that’s because that layer, promotion of there’s a bit of layer promotion, but the kind of setting up of those card animations did Cost us a little bit so, if you’re interested in nine, you want to see that one built.

What are you doing seriously? Okay, if you want to see that one built there’s a TL DW, there’s an hour-long livestream that you can catch of that one as well. So I football cards right. We can move on areas, I’m just going to stand around here. Okay, the exponent collapse is the final one and it’s the one. That is the kind of fully dynamic one, because you could pick any of those cards. They could be anywhere on screen and okay, in this case, in the mobile case, they might do a full screen takeover, but they might not.

They might just expand a little bit or something like that. We don’t really know ahead of time. We can’t hard-code those values and if we try it’s going to be pretty horrible, so how do we handle this situation? Well, the theory for this one is going to be a little more involved, but that’s fun. When I get something like this from a designer or I do it myself, I kind of read it over and over and over again it’s a thrilling few minutes.

But it’s a useful few minutes because it’ll as you kind of read something over and over again, your brain starts to notice the patterns and the patterns here are in this case. I think that thing is, is getting bigger and it’s moving. Yes, there’s the pink head a bit, that’s fading in, but predominately this is about a movement, it’s getting wider and taller and it’s moving and therefore I would normally go wow that feels like a width, height left in top moment.

Great, that’s probably what I would animate, except that that would be bad and the reason it would be bad is that in every browser you would trigger layout with a purple chunk at the top. There paint and composite layout is basically where the browser says. Where is every element? It’s basically a geometric process. Where is the remote element? Every element, what is its size and so on paint is where we fill in pixels and compositing is where we put the page back together all those layers.

Now, if you’ve got to do that for every single frame, when you might have a reasonable size that Dom you’re in trouble, you don’t want to be able to do under have to do this work on every single frame. Chances of getting 60 frames. A second slim to none – you may have noticed that I use transforms an awful lot and the reason it is their profile is different for an element. That’s got its own compositor layer.

Changing a transform is not going to trigger layout and it’s not going to trigger paint. It should only trigger compositing, which is something that we can probably get done comfortably at 60 frames a second, so this then changes the question to look like this. Can we do that effect with transforms? Can we remap this slow-mo? Can we do that with a transform? Well to me that looks like a scale and it looks like a translation cool.

My approach is called flip all right, so that’s the first last invert and play because there aren’t enough acronyms okay, so I’m adding another one cool, but it’s an extremely useful way to think about the animation. What we want to do is we want to essentially ask the question at room type. Where is the element that I’m interacting with so we record its first position on screen and we do that with something like get bounding, client rect, which is fun to say and has been around since ie for lint.

And it will tell you in relation to the viewport, where this element is its left, its height, its top its right, its bottom, all the stuff that we need to know know what we can do is we can actually snap the element in question out to its Final position, I’m doing this for the class. We could have manipulate the Styles. You could do whatever you need to do so now our card is going to be in its last position like so, and we can call get bounding, client rect a second time.

So now we know where you were now now. We know where you’re going to be that’s cool. That means we can start to kind of figure out our transforms that we might need dynamically. Now there is a word of warning here. Going from first to last is going to trigger styles and layout and the reason it’s going to trigger styles and layout is because the second gets bounding, client rect came after some style mutation.

We said: here’s a new class for you or here’s, some style changes, and then we asked for how wide and how high and where are you on screen and the browser goes. I don’t know you just moved everything hang on. Let me go and figure it out and I’ll come back with an answer and that’s exactly what happens. So you got to bear in mind that there’s the from this first class, I mean you might be sitting there going hang on a minute.

I’r sure you said trigger in layout was bad and I did, but the key is here: we’re not going to do it on every single frame. There are two things we need to bear in mind, one we’re going to do it once at the start, as a set up cost. Secondly, we have rail, which is going to be our friend here, bear in mind the user tapped on a card to get the animation. Therefore, in rail terms there here, we have a tenth of a second in which to respond.

We have a tenth of a second in which we can do some work and believe me, a tenth of a second is actually quite a long time, especially when it comes to this kind of work. It’s great. We should use it and we do so. When it comes to rail and flip, you can typically afford to do a single styles and layout. Pass then seriously one, but that’s cool. That’s often enough and in terms of flip, that’s a good set up time.

You’ll still need it to complete in less than 100 milliseconds, so you kind of have to be aware of how big the DOM is and if you’re able to use something like CSS containment to limit the scope of layout and paint. You should definitely do that and that’s really useful. However, we knew where we work. That was first, we know where we are that’s last and now we can transform. What we’ll do is we’ll just basically apply an inverse transform to take us back to here.

We can do that so first left, you know blah blah blah. Do that with a scale, apply a transform that uses those values. So at this point, we’ve done first last an invert – and it’s like this. So if I was the top on the card Ready, Steady, Go there, you go from the users point of view. Nothing happened. What’s really happening. Is this going first last and then we’re inverting and it feels like a lot of setup cost and it kind of is, but it gives us a huge advantage, because what we can do now is switch on transition on transforms and remove that transform and our card Will just go, we didn’t know where it was bit the stuff.

We didn’t hard code it we just said: where are you going? Where are you now I’ll figure out the transform and I’ll apply it for you, we’ve just most a remaps, something there was width, height, left and top, which wouldn’t have run at 60 frames. A second do something that definitely will hopefully all being well caveat. So because there’s always those if you’ve got some scale changes that are being applied.

They something like text, let’s say, you’re, doing something flipped like when you got something with text inside that might get squashed or stretched. So you might need to move the content to a sibling element so that it’s not affected and then just have faded in or something like that, but a sleight-of-hand. You might need to do that bit of gymnastics, but it’s well worth it like. I said the first to last does involve forcing Styles and layout, so you have to be careful with that, but this is what it looks like in reality there.

This is a little kind of expanded collapse, e-card thing, which you know that’s running on our Nexus 5x, and this screen doesn’t make a look at like it’s. 60 frames a second, but it is, and I can prove it because I’ve got timelines that show it and you can see it I’ll show you it’s great. It’s also responsive design friendly, like I said, we’re going to ask at room time what the first position is and what the last position is.

We don’t we don’t hard-code those values, which means the same animation on desktop, looks like this different position: different sizes, but still the same stuff, and this is what it looks like in timeline – will zoom in again to the top bit, and you see the dip at The start – and you see, there’s a red markers – that’s they’ve tools telling you your frames per second dipped below the comfortable point of 60, but we know that that was the setup of flipped.

That was the first lesson invert, which, on a nexus 5x on this case, was about 40 milliseconds. After that that is a steady, 60 frames, a second afterwards tremendous cool. I get to call this one a day in a moment. Some closing thoughts. You’ve noticed probably that I use will change, and I would suggest that you start doing that. If you haven’t already for elements that you intend to animate, you need to decide.

Is this thing primed? If so, I’m going to probably put the will change into my CSS. If not, I need to do it on demand, probably via JavaScript, but you want to use it sparingly, don’t go overboard. Transform and opacity are your best friends. When it comes to UI elements, running performant ly. I hope in the future to be able to say that you can get away with a lot more and actually we are heading for that world with things like Jeep, GPU, rasterization, CSS containment, lots of really good things that might help us limit the work, and I Mean that we can do more, but for today for the cross browser story, I would suggest that you stick here.

If you find yourself in the kind of dynamic and then something like flip, where you can remap expensive properties calculate your transforms at runtime is very useful. Now follow that’s news to you and you’ve never come across like layout, recalc style or anything here are some links, inbound phones out, don’t worry, you can get the slides afterwards as well. Other phones went down, don’t care anymore.

There’s the Google web fundamentals render performance section complete with Udacity course, which will take you through the same kind of content, very useful to get up to speed. Secondarily, if you want the source code for those elements, I showed you can get that at the supercharge. Do I wish to take you to the github repo? If you want to see me and Surma, where sermo basically spends an hour interrupting me and I try and code it’s like real life.

There are bugs as well. It’s just it’s every time. I don’t when it’s scary, but brilliant and there’s a TL DW, which is like five minutes. If you ever got that on that time right, I need to shut up and move on, but before I do, I just want to say this again. We are hopefully going to be here. This is the first time we’ve been invited to people’s home screens. That is incredibly exciting, but it’s also a huge responsibility.

We need to act like we deserve to be there, and that means taking a user interface work super seriously. The web is ready for us to do that. We can do that today with the tech. I’ve shown that you can. I hope that you go and give it a try, and with that I’ll say, thank you very much. You