Archive for the 'accessibility web standards' Category

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One weird trick to get online — designers hate it!

At the Google Progressive Web Apps afterparty last night, I had two very different conversations within five minutes of each other.

Conversation #1 went

Hey Bruce, lucky you weren’t at REDACTED conference last week. They were bad mouthing Opera! One speaker said, “Anyway, who cares about Opera Mini?”

In the time it took to drink another 5 bottles of free beer (two minutes), conversation #2 happened:

Oh Bruce, hi. We’ve just raised £100million in funding for our business in Asia, and 35% of our users are on Opera Mini.

What’s the difference? Well, for a start, one was apparently said by a European designer to a room full of European designers, in Europe. The second is the word “users”: the second conversation focussed on the fact that a technology is used by human beings, which is always, always the point.

Now, I don’t care about Opera Mini per se (I’m not its Product Manager). In the same way, I don’t care about walking sticks, wheelchairs, mobility scooters or guide dogs. But I care deeply about people who use enabling technologies — and Opera Mini is an enabling technology. It allows people on feature phones, low-powered smartphones, people in low-bandwidth areas, people with very small data plans, people who are roaming (you?) to connect to the web.

Sure, I get that Opera Mini can frustrate some designers and developers; your rounded corners, gradients and JavaScript-only APIs don’t work. But CSS isn’t content, and a progressively enhanced website will work (albeit more clunkily) with JavaScript throttled after 3 seconds. (I wrote Making websites that work well on Opera Mini if you want more information on how Mini works.)

I ran the stats today. Of more than 250 million Opera Mini users, 50% are on Android/iOS and 50% are on feature phones. The second group almost certainly have no choice in which browser to use to get a full web experience. That’s 125 million people that designer-on-stage doesn’t care about. People like Donald from Nigeria, people like Silma from Bangladesh. People.

The top territories for Opera Mini use are India, Indonesia, Nigeria, Bangladesh and South Africa. Because conversation #2 was about tangible stuff – millions of pounds, and numbers, let’s look at the economic growth of these nations full of interlopers to our WWW (Wealthy Western Web).

Country Population PPP Growth Rate
India 1,251,695,584 $6,300 7.3%
Indonesia 255,993,674 $11,300 4.7%
Bangladesh 168,957,745 $3,600 6.5%
Nigeria 181,562,056 $6,400 4%
South Africa 53,675,563 $13,400 1.4%

(PPP= Gross Domestic Product per Capita, figures from CIA World Fact Book)

Sure, those PPP numbers might be low compared with the home countries of designer-on-a-stage and audience, but how do the growth rates compare? These are dynamic, emerging markets. Who cared about China ten years ago?

If you don’t care about Opera Mini users in these areas, you can bet your competitors soon will.

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Literally trillions* of people asked me “Bruce, how do Smart Alerts in Opera Max work?”. So I blew Opera’s video budget on this 2 min explainer, featuring an eggbox and a Where The Wild Things Are puppet.

(*metaphorically trillions)

On the proposed Opera buy-out

I’ve had a few tweets, DMs and emails asking about the proposed buy-out of Opera by a Chinese consortium. Here are some answers to your questions (none of this is new; it’s publicly available in Lars’ statements to the press and Opera’s consumer blogs, but I know that many of you are techies who won’t necessarily read those). I apologise for not getting back to you earlier; the news broke on my last day of a press tour of India and I only got back yesterday.

Firstly, it’s not a done deal. An offer has been made, and Opera’s board has recommended that shareholders accept it. But shareholders need to vote and governments need to be consulted.

If the deal goes through, the shareholders change (because current shareholders would sell their shares to the Chinese consortium) but, as Nuno Sitima (Opera’s Lord of Mobile Stuff) wrote,

the people behind Opera remain the same. The same teams will be developing and delivering the [products].

Many of you asked why we’re doing this. It gives Opera access to 500 million Chinese customers of the consortium, and investment to grow bigger. I am not a Biz Guy so I’ll just quote the press release:

The transaction would give Opera access to the extensive internet user base of Kunlun and Qihoo in China as well as the financing and other support of the Consortium that would allow for the full potential of the Company to be realized.

Lastly, and most importantly, I’ve had Opera customers ask about the security and privacy of their data. The answer is simple, and reassuring (I hope):

Assuming the deal goes through (see first point above), Opera plans to continue operating as a stand-alone company (see Nuno’s quote above). We are a Norwegian company subject to Norwegian (EU/EEA) privacy laws. Our shareholders may change but our legal obligations in this respect will not. All data will continue to be handled in accordance with our Norwegian legal obligations — nothing changes in this respect.

(And, yes, I remain employed; thanks to all of you who asked after me personally and offered me other jobs. But, honestly, despite still looking great in a mankini, my pole-dancing days are behind me.)

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I’ve got a new job!

TL;DR, I’m moving from Developer Relations to become Opera’s Deputy Chief Technology Officer. Or maybe Deputy Technology Officer, because “Deputy Chief” is almost oxymoronic. Anyway, call me “Bruce”; it’s more polite than what you usually call me.

Co-father of CSS Håkon Wium Lie continues to be CTO, and I’ll be working with him, the Communications Team, the product teams, and my lovely colleagues in devrel, to continue connecting the unconnected across the world.

In some ways, this is simply an evolution of what I’ve been doing for the last couple of years. In a more profound way it’s a return to basics.

My first real exposure to the Web came about working in Thailand in 1999, when I was convalescing after my diagnosis of Multiple Sclerosis. Because M.S. is very rare in Asia, I could find no English language information to tell me how quickly or painfully I would die.

But I’d read about this new-fangled Web thing, and there was an Internet Café near my apartment, so I typed in “Multiple Sclerosis” into Alta Vista and found something extraordinary: a community of people around the world supporting each other through their shared diagnosis on something called a “website” – and I could participate, too, from a café in Pratunam, Bangkok. All strangers, across the globe, coming together around a common theme and helping each other.

I knew immediately that I’d stumbled upon something amazing, something revolutionary, an undreamed of way to communicate. As an English Literature graduate and ex-programmer, I was fascinated, by both the communicative potential and also the tech that drove it. By 2002, I was Brand Manager for a UK book company publishing on books for web professionals, and our first, flagship book was on Web Accessibility.

From accessibility, I began to advocate the general concept of open web standards on my blog and with various employers, so that everyone could access the web. Then, after being invited to join Opera in 2008, I started advocating HTML5, so people could connect to an open web that could compete with the proprietary silos of Flash and iOS. After that, I began beating the drum for Media Queries and Responsive Design so that the people in developing nations (like I was in ’99), using affordable hand-held devices, could connect and enjoy the full web. Then I proposed the <picture> element (more accurately: a very naive precursor to it) so that people with limited funds for bandwidth could connect economically, too. Then I agitated, inside Opera and outside, for Progressive Web Apps, so people could have a great experience on the open web, not those pesky walled gardens.

The common thread is people and getting them connected to each other. This matters to me because that happened to me, 17 years ago (spoiler: and I didn’t die).

A third of a billion people use Opera’s products to get them online, fast and affordably. I want to be part of making that half a billion, then a billion, then more; not by stealing customers from competitors, but by opening up the web to people and places that currently have no access. That’s a lot of people; there’s a lot to be done. It’s a big job. I’m a n00b and I’m gonna fuck up from time-to-time.

Bring it on.

(Yikes.)