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Gary Edwards

The NeuroCommons Project: Open RDF Ontologies for Scientific Reseach - 0 views

neurocommons.org/Main_Page

msoffice creative-commons neurocommons open-web rdf semantic-web

shared by Gary Edwards on 14 Mar 09 - Cached
  • Gary Edwards on 14 Mar 09
     
    The NeuroCommons project seeks to make all scientific research materials - research articles, annotations, data, physical materials - as available and as useable as they can be. This is done by fostering practices that render information in a form that promotes uniform access by computational agents - sometimes called "interoperability". Semantic Web practices based on RDF will enable knowledge sources to combine meaningfully, semantically precise queries that span multiple information sources.

    Working with the Creative Commons group that sponsors "Neurocommons", Microsoft has developed and released an open source "ontology" add-on for Microsoft Word. The add-on makes use of MSOffice XML panel, Open XML formats, and proprietary "Smart Tags". Microsoft is also making the source code for both the Ontology Add-in for Office Word 2007 and the Creative Commons Add-in for Office Word 2007 tool available under the Open Source Initiative (OSI)-approved Microsoft Public License (Ms-PL) at http://ucsdbiolit.codeplex.com and http://ccaddin2007.codeplex.com,respectively.

    No doubt it will take some digging to figure out what is going on here. Microsoft WPF technologies include Smart Tags and LINQ. The Creative Commons "Neurocommons" ontology work is based on W3C RDF and SPARQL. How these opposing technologies interoperate with legacy MSOffice 2003 and 2007 desktops is an interesting question. One that may hold the answer to the larger problem of re-purposing MSOffice for the Open Web?

    We know Microsoft is re-purposing MSOffice for the MS Web. Perhaps this work with Creative Commons will help to open up the Microsoft desktop productivity environment to the Open Web? One can always hope :)

    Dr Dobbs has the Microsoft - Creative Commons announcement; Microsoft Releases Open Tools for Scientific Research ...... Joins Creative Commons in releasing the Ontology Add-in
Gonzalo San Gil, PhD.

What's New in 4.0 - Creative Commons - 2 views

creativecommons.org/Version4

creative commons commons creative copyleft version 4.0 creaate share enjoy grow

shared by Gonzalo San Gil, PhD. on 26 Nov 13 - No Cached
  • Gonzalo San Gil, PhD. on 26 Nov 13
     
    "Creative Commons worked for more than two years to develop the next generation of CC licenses - the version 4.0 CC license suite. The new licenses are more user-friendly and more internationally robust than ever before. We made dozens of improvements to the licenses. Most will go unnoticed by many CC licensors and licensees, but some of them deserve particular attention. For a much more in-depth rundown of the decisions reflected in 4.0, visit the 4.0 page on the Creative Commons wiki."
Gonzalo San Gil, PhD.

Creative Commons licences under scrutiny: What does "noncommercial" mean? | Ars Technic... - 0 views

arstechnica.co.uk/...-commons-licences-nocommercial

creative commons scrutiny some try discredit copyleft alternatve intellectua property aside Big Media control power

shared by Gonzalo San Gil, PhD. on 19 Sep 16 - No Cached
  • Gonzalo San Gil, PhD. on 19 Sep 16
     
    "Commercial v. noncommercial use of CC licences. Where's the line of demarcation? David Kravets (US) - Sep 19, 2016 7:35 am UTC"
Gary Edwards

XML Production Workflows? Start with the Web and XHTML - 0 views

quod.lib.umich.edu/...n-workflows-start-with-the-web

OpenWeb XML XHTML-CSS HTML5-CSS3-JavaScript IDML

shared by Gary Edwards on 07 Nov 13 - No Cached
  • Challenges: Some Ugly Truths The challenges of building—and living with—an XML workflow are clear enough. The return on investment is a long-term proposition. Regardless of the benefits XML may provide, the starting reality is that it represents a very different way of doing things than the one we are familiar with. The Word Processing and Desktop Publishing paradigm, based on the promise of onscreen, WYSIWYG layout, is so dominant as to be practically inescapable. It has proven really hard to get from here to there, no matter how attractive XML might be on paper. A considerable amount of organizational effort and labour must be expended up front in order to realize the benefits. This is why XML is often referred to as an “investment”: you sink a bunch of time and money up front, and realize the benefits—greater flexibility, multiple output options, searching and indexing, and general futureproofing—later, over the long haul. It is not a short-term return proposition. And, of course, the returns you are able to realize from your XML investment are commensurate with what you put in up front: fine-grained, semantically rich tagging is going to give you more potential for searchability and recombination than a looser, more general-purpose approach, but it sure costs more. For instance, the Text Encoding Initiative (TEI) is the grand example of pouring enormous amounts of energy into the up-front tagging, with a very open-ended set of possibilities down the line. TEI helpfully defines a level to which most of us do not have to aspire.[5] But understanding this on a theoretical level is only part of the challenge. There are many practical issues that must be addressed. Software and labour are two of the most critical. How do you get the content into XML in the first place? Unfortunately, despite two decades of people doing SGML and XML, this remains an ugly question.
  • Practical Challenges In 2009, there is still no truly likeable—let alone standard—editing and authoring software for XML. For many (myself included), the high-water mark here was Adobe’s FrameMaker, substantially developed by the late 1990s. With no substantial market for it, it is relegated today mostly to the tech writing industry, unavailable for the Mac, and just far enough afield from the kinds of tools we use today that its adoption represents a significant hurdle. And FrameMaker was the best of the breed; most of the other software in decent circulation are programmers’ tools—the sort of things that, as Michael Tamblyn pointed out, encourage editors to drink at their desks. The labour question represents a stumbling block as well. The skill-sets and mind-sets that effective XML editors need have limited overlap with those needed by literary and more traditional production editors. The need to think of documents as machine-readable databases is not something that comes naturally to folks steeped in literary culture. In combination with the sheer time and effort that rich tagging requires, many publishers simply outsource the tagging to India, drawing a division of labour that spans oceans, to put it mildly. Once you have XML content, then what do you do with it? How do you produce books from it? Presumably, you need to be able to produce print output as well as digital formats. But while the latter are new enough to be generally XML-friendly (e-book formats being largely XML based, for instance), there aren’t any straightforward, standard ways of moving XML content into the kind of print production environments we are used to seeing. This isn’t to say that there aren’t ways of getting print—even very high-quality print—output from XML, just that most of them involve replacing your prepress staff with Java programmers.
  • Why does this have to be so hard? It’s not that XML is new, or immature, or untested. Remember that the basics have been around, and in production, since the early 1980s at least. But we have to take account of a substantial and long-running cultural disconnect between traditional editorial and production processes (the ones most of us know intimately) and the ways computing people have approached things. Interestingly, this cultural divide looked rather different in the 1970s, when publishers were looking at how to move to digital typesetting. Back then, printers and software developers could speak the same language. But that was before the ascendancy of the Desktop Publishing paradigm, which computerized the publishing industry while at the same time isolating it culturally. Those of us who learned how to do things the Quark way or the Adobe way had little in common with people who programmed databases or document-management systems. Desktop publishing technology isolated us in a smooth, self-contained universe of toolbars, grid lines, and laser proofs. So, now that the reasons to get with this program, XML, loom large, how can we bridge this long-standing divide?
  • ...44 more annotations...
  • Using the Web as a Production Platform The answer, I think, is right in front of you. The bridge is the Web, a technology and platform that is fundamentally based on XML, and which many publishers are by now comfortably familiar with. Perhaps not entirely comfortably, but at least most publishers are already working with the Web; they already either know or have on staff people who understand it and can work with it. The foundation of our argument is this: rather than looking at jumping to XML in its full, industrial complexity, which seems to be what the O'Reilly-backed StartWithXML initiative[6] is suggesting, publishers instead leverage existing tools and technologies—starting with the Web—as a means of getting XML workflows in place. This means making small investments and working with known tools rather than spending tens of thousands of dollars on XML software and rarefied consultants. It means re-thinking how the existing pieces of the production toolchain fit together; re-thinking the existing roles of software components already in use. It means, fundamentally, taking the Web seriously as a content platform, rather than thinking of it as something you need to get content out to, somehow. If nothing else, the Web represents an opportunity to think about editorial and production from outside the shrink-wrapped Desktop Publishing paradigm.
  • Is the Web made of Real XML? At this point some predictable objections can be heard: wait a moment, the Web isn’t really made out of XML; the HTML that makes up most of the Web is at best the bastard child of SGML, and it is far too flaky/unstructured/underpowered to be taken seriously. We counter by arguing that although HTML on the Web exists in a staggering array of different incarnations, and that the majority of it is indeed an unstructured mess, this does not undermine the general principle that basic, ubiquitous Web technologies can make a solid platform for content management, editorial process, and production workflow.
  • With the advent of a published XML standard in the late 1990s came the W3C’s adoption of XHTML: the realization of the Web’s native content markup as a proper XML document type. Today, its acceptance is almost ubiquitous, even while the majority of actual content out there may not be strictly conforming. The more important point is that most contemporary Web software, from browsers to authoring tools to content management systems (from blogs to enterprise systems), are capable of working with clean, valid XHTML. Or, to put the argument the other way around, clean, valid XHTML content plays absolutely seamlessly with everything else on the Web.[7]
  • The objection which follows, then, will be that even if we grant that XHTML is a real XML document type, that it is underpowered for “serious” content because it is almost entirely presentation (formatting) oriented; it lacks any semantic depth. In XHTML, a paragraph is a paragraph is a paragraph, as opposed to a section or an epigraph or a summary.
  • n contrast, more “serious” XML document types like DocBook[8] or DITA-derived schemas[9] are capable of making semantic distinctions about content chunks at a fine level of granularity and with a high degree of specificity.
  • So there is an argument for recalling the 80:20 rule here. If XHTML can provide 80% of the value with just 20% of the investment, then what exactly is the business case for spending the other 80% to achieve that last 20% of value? We suspect the ratio is actually quite a bit steeper than 80:20 for most publishers.
  • Furthermore, just to get technical for a moment, XHTML is extensible in a fairly straightforward way, through the common “class” attribute on each element. Web developers have long leveraged this kind of extensibility in the elaboration of “microformats” for semantic-web applications.[10] There is no reason why publishers shouldn’t think to use XHTML’s simple extensibility in a similar way for their own ends.
  • XHTML, on the other hand, is supported by a vast array of quotidian software, starting with the ubiquitous Web browser. For this very reason, XHTML is in fact employed as a component part of several more specialized document types (ONIX and ePub among them).
  • Why re-invent a general-purpose prose representation when XHTML already does the job?
  • It is worth pausing for a moment to consider the role of XHTML in the ePub standard for ebook content. An ePub file is, anatomically, a simply disguised zip archive. Inside the zip archive are a few standard component parts: there are specialized files that declare metadata about the book, and about the format of the book. And then there is the book’s content, represented in XHTML. An ePub book is a Web page in a wrapper.
  • To sum up the general argument: the Web as it already exists presents incredible value to publishers, as a platform for doing XML content management with existing (and often free) tools, and without having to go blindly into the unknown. At this point, we can offer a few design guidelines: prefer existing and/or ubiquitous tools over specialized ones wherever possible; prefer free software over proprietary systems where possible; prefer simple tools controlled and coordinated by human beings over fully automated (and therefore complex) systems; play to our strengths: use Web software for storing and managing content, use layout software for layout, and keep editors and production people in charge of their own domains.
  • Putting the Pieces Together: A Prototype
  • At the SFU Master of Publishing Program, we have been chipping away at this general line of thinking for a few years. Over that time, Web content management systems have been getting more and more sophisticated, all the while getting more streamlined and easier to use. (NB: if you have a blog, you have a Web content management system.) The Web is beginning to be recognized as a writing and editing environment used by millions of people. And the ways in which content is represented, stored, and exchanged online have become increasingly robust and standardized.
  • The missing piece of the puzzle has been print production: how can we move content from its malleable, fluid form on line into the kind of high-quality print production environments we’ve come to expect after two decades of Desktop Publishing?
  • Anyone who has tried to print Web content knows that the existing methods leave much to be desired (hyphenation and justification, for starters). In the absence of decent tools for this, most publishers quite naturally think of producing the print content first, and then think about how to get material onto the Web for various purposes. So we tend to export from Word, or from Adobe, as something of an afterthought.
  • While this sort of works, it isn’t elegant, and it completely ignores the considerable advantages of Web-based content management.
  • Content managed online is stored in one central location, accessible simultaneously to everyone in your firm, available anywhere you have an Internet connection, and usually exists in a much more fluid format than Word files. If only we could manage the editorial flow online, and then go to print formats at the end, instead of the other way around. At SFU, we made several attempts to make this work by way of the supposed “XML import” capabilities of various Desktop Publishing tools, without much success.[12]
  • In the winter of 2009, Adobe solved this part of the problem for us with the introduction of its Creative Suite 4. What CS4 offers is the option of a complete XML representation of an InDesign document: what Adobe calls IDML (InDesign Markup Language).
  • The IDML file format is—like ePub—a simply disguised zip archive that, when unpacked, reveals a cluster of XML files that represent all the different facets of an InDesign document: layout spreads, master pages, defined styles, colours, and of course, the content.
  • IDML is a well thought-out XML standard that achieves two very different goals simultaneously: it preserves all of the information that InDesign needs to do what it does; and it is broken up in a way that makes it possible for mere mortals (or at least our Master of Publishing students) to work with it.
  • What this represented to us in concrete terms was the ability to take Web-based content and move it into InDesign in a straightforward way, thus bridging Web and print production environments using existing tools and skillsets, with a little added help from free software.
  • We would take clean XHTML content, transform it to IDML-marked content, and merge that with nicely designed templates in InDesign.
  • The result is an almost push-button publication workflow, which results in a nice, familiar InDesign document that fits straight into the way publishers actually do production.
  • Tracing the steps To begin with, we worked backwards, moving the book content back to clean XHTML.
  • The simplest method for this conversion—and if you want to create Web content, this is an excellent route—was to use Adobe’s “Export to Digital Editions” option, which creates an ePub file.
  • Recall that ePub is just XHTML in a wrapper, so within the ePub file was a relatively clean XHTML document. It was somewhat cleaner (that is, the XHTML tagging was simpler and less cluttered) than InDesign’s other Web-oriented exports, possibly because Digital Editions is a well understood target, compared with somebody’s website.
  • In order to achieve our target of clean XHTML, we needed to do some editing; the XHTML produced by InDesign’s “Digital Editions” export was presentation-oriented. For instance, bulleted list items were tagged as paragraphs, with a class attribute identifying them as list items. Using the search-and-replace function, we converted such structures to proper XHTML list and list-item elements. Our guiding principle was to make the XHTML as straightforward as possible, not dependent on any particular software to interpret it.
  • We broke the book’s content into individual chapter files; each chapter could then carry its own basic metadata, and the pages conveniently fit our Web content management system (which is actually just a wiki). We assembled a dynamically generated table of contents for the 12 chapters, and created a cover page. Essentially, the book was entirely Web-based at this point.
  • When the book chapters are viewed online, they are formatted via a CSS2 stylesheet that defines a main column for content as well as dedicating screen real estate for navigational elements. We then created a second template to render the content for exporting; this was essentially a bare-bones version of the book with no navigation and minimal styling. Pages (or even the entire book) can be exported (via the “Save As...” function in a Web browser) for use in either print production or ebook conversion. At this point, we required no skills beyond those of any decent Web designer.
  • Integrating with CS4 for Print Adobe’s IDML language defines elements specific to InDesign; there is nothing in the language that looks remotely like XHTML. So a mechanical transformation step is needed to convert the XHTML content into something InDesign can use. This is not as hard as it might seem.
  • Both XHTML and IDML are composed of straightforward, well-documented structures, and so transformation from one to the other is, as they say, “trivial.” We chose to use XSLT (Extensible Stylesheet Language Transforms) to do the work. XSLT is part of the overall XML specification, and thus is very well supported in a wide variety of tools. Our prototype used a scripting engine called xsltproc, a nearly ubiquitous piece of software that we found already installed as part of Mac OS X (contemporary Linux distributions also have this as a standard tool), though any XSLT processor would work.
  • In other words, we don’t need to buy InCopy, because we just replaced it with the Web. Our wiki is now plugged directly into our InDesign layout. It even automatically updates the InDesign document when the content changes. Credit is due at this point to Adobe: this integration is possible because of the open file format in the Creative Suite 4.
  • We wrote an XSLT transformation script[18] that converted the XHTML content from the Web into an InCopy ICML file. The script itself is less than 500 lines long, and was written and debugged over a period of about a week by amateurs (again, the people named at the start of this article). The script runs in a couple of seconds, and the resulting .icml file can then be “placed” directly into an InDesign template. The ICML file references an InDesign stylesheet, so the template file can be set up with a house-styled layout, master pages, and stylesheet definitions for paragraphs and character ranges.
  • The result is very simple and easy to use. Our demonstration requires that a production editor run the XSLT transformation script manually, but there is no reason why this couldn’t be built directly into the Web content management system so that exporting the content to print ran the transformation automatically. The resulting file would then be “placed” in InDesign and proofed.
  • It should be noted that the Book Publishing 1 proof-of-concept was artificially complex; we began with a book laid out in InDesign and ended up with a look-alike book laid out in InDesign. But next time—for instance, when we publish Book Publishing 2—we can begin the process with the content on the Web, and keep it there throughout the editorial process. The book’s content could potentially be written and edited entirely online, as Web content, and then automatically poured into an InDesign template at proof time. “Just in time,” as they say. This represents an entirely new way of thinking of book production. With a Web-first orientation, it makes little sense to think of the book as “in print” or “out of print”—the book is simply available, in the first place online; in the second place in derivative digital formats; and third, but really not much more difficult, in print-ready format, via the usual InDesign CS print production system publishers are already familiar with.
  • Creating Ebook Files Creating electronic versions from XHTML source is vastly simpler than trying to generate these out of the existing print process. The ePub version is extremely easy to generate; so is online marketing copy or excerpts for the Web, since the content begins life Web-native.
  • Since an ePub file is essentially XHTML content in a special wrapper, all that is required is that we properly “wrap” our XHTML content. Ideally, the content in an ePub file is broken into chapters (as ours was) and a table of contents file is generated in order to allow easy navigation within an ebook reader. We used Julian Smart’s free tool eCub[19] to simply and automatically generate the ePub wrapper and the table of contents. The only custom development we did was to create a CSS stylesheet for the ebook so that headings and paragraph indents looked the way we wanted. Starting with XHTML content, creating ePub is almost too easy.
  • Such a workflow—beginning with the Web and exporting to print—is surely more in line with the way we will do business in the 21st century, where the Web is the default platform for reaching audiences, developing content, and putting the pieces together. It is time, we suggest, for publishers to re-orient their operations and start with the Web.
  • Our project demonstrates that Web technologies are indeed good enough to use in an XML-oriented workflow; more specialized and expensive options are not necessarily required. For massive-scale enterprise publishing, this approach may not offer enough flexibility, and the challenge of adding and extracting extra semantic richness may prove more trouble than it's worth.
  • But for smaller firms who are looking at the straightforward benefits of XML-based processes—single source publishing, online content and workflow management, open and accessible archive formats, greater online discoverability—here is a way forward.
  • Rather than a public-facing website, our system relies on the Web as a content management platform—of course a public face could easily be added.
  • The final piece of our puzzle, the ability to integrate print production, was made possible by Adobe's release of InDesign with an open XML file format. Since the Web's XHTML is also XML, is can be easily and confidently transformed to the InDesign format.
  • today, we are able to put the process together using nothing but standard, relatively ubiquitous Web tools: the Web itself as an editing and content management environment, standard Web scripting tools for the conversion process, and the well-documented IDML file format to integrate the layout tool.
  • Using the Web as a Production Platform
  • Gary Edwards on 07 Nov 13
     
    I was looking for an answer to a problem Marbux had presented, and found this interesting article.  The issue was that of the upcoming conversion of the Note Case Pro (NCP) layout engine to the WebKit layout engine, and what to do about the NCP document format. My initial reaction was to encode the legacy NCP document format in XML, and run an XSLT to a universal pivot format like TEI-XML.  From there, the TEI-XML community would provide all the XSLT transformation routines for conversion to ODF, OOXML, XHTML, ePUB and HTML/CSS. Researching the problems one might encounter with this approach, I found this article.  Fascinating stuff. My take away is that TEI-XML would not be as effective a "universal pivot point" as XHTML.  Or perhaps, if NCP really wants to get aggressive; IDML - InDesign Markup Language. The important point though is that XHTML is a browser specific version of XML, and compatible with the Web Kit layout engine Miro wants to move NCP to. The concept of encoding an existing application-specific format in XML has been around since 1998, when XML was first introduced as a W3C standard, a "structured" subset of SGML. (HTML is also a subset of SGML). The multiplatform StarOffice productivity suite became "OpenOffice" when Sun purchased the company in 1998, and open sourced the code base. The OpenOffice developer team came out with a XML encoding of their existing document formats in 2000. The application specific encoding became an OASIS document format standard proposal in 2002 - also known as ODF. Microsoft followed OpenOffice with a XML encoding of their application-specific binary document formats, known as OOXML. Encoding the existing NCP format in XML, specifically targeting XHTML as a "universal pivot point", would put the NCP Outliner in the Web editor category, without breaking backwards compatibility. The trick is in the XSLT conversion process. But I think that is something much easier to handle then trying to
  • Gary Edwards on 07 Nov 13
     
    I was looking for an answer to a problem Marbux had presented, and found this interesting article.  The issue was that of the upcoming conversion of the Note Case Pro (NCP) layout engine to the WebKit layout engine, and what to do about the NCP document format. My initial reaction was to encode the legacy NCP document format in XML, and run an XSLT to a universal pivot format like TEI-XML.  From there, the TEI-XML community would provide all the XSLT transformation routines for conversion to ODF, OOXML, XHTML, ePUB and HTML/CSS. Researching the problems one might encounter with this approach, I found this article.  Fascinating stuff. My take away is that TEI-XML would not be as effective a "universal pivot point" as XHTML.  Or perhaps, if NCP really wants to get aggressive; IDML - InDesign Markup Language. The important point though is that XHTML is a browser specific version of XML, and compatible with the Web Kit layout engine Miro wants to move NCP to. The concept of encoding an existing application-specific format in XML has been around since 1998, when XML was first introduced as a W3C standard, a "structured" subset of SGML. (HTML is also a subset of SGML). The multiplatform StarOffice productivity suite became "OpenOffice" when Sun purchased the company in 1998, and open sourced the code base. The OpenOffice developer team came out with a XML encoding of their existing document formats in 2000. The application specific encoding became an OASIS document format standard proposal in 2002 - also known as ODF. Microsoft followed OpenOffice with a XML encoding of their application-specific binary document formats, known as OOXML. Encoding the existing NCP format in XML, specifically targeting XHTML as a "universal pivot point", would put the NCP Outliner in the Web editor category, without breaking backwards compatibility. The trick is in the XSLT conversion process. But I think that is something much easier to handle then trying to
Paul Merrell

Sun's Advanced Datacenter (Santa Clara, CA) - System News - 0 views

sun.systemnews.com/...20168

data center container sun-msft cloud

shared by Paul Merrell on 11 Jul 08 - Cached
  • To run Sun’s award-winning data centers, a modular design containing many "pods" was implemented to save power and time. The modular design aids the building of any sized datacenter. Inside of each pod, there are 24 racks. Each of these 24 racks has a common cooling system as does every other modular building block. The number of pods is limited by the size of the datacenters. Large and small datacenters can benefit from using the pod approach. The module design makes it easy to configure a datacenter to meet a client's requirements. As the datacenter grows over time, adding pods is convenient. The module and pod designs make it easy to adapt to new technology such as blade servers. Some of the ways that Sun’s datacenter modules are designed with the future in mind are as follows:
  • To run Sun’s award-winning data centers, a modular design containing many "pods" was implemented to save power and time. The modular design aids the building of any sized datacenter. Inside of each pod, there are 24 racks. Each of these 24 racks has a common cooling system as does every other modular building block. The number of pods is limited by the size of the datacenters. Large and small datacenters can benefit from using the pod approach. The module design makes it easy to configure a datacenter to meet a client's requirements. As the datacenter grows over time, adding pods is convenient. The module and pod designs make it easy to adapt to new technology such as blade servers.
  • An updated 58-page Sun BluePrint covers Sun's approach to designing datacenters. (Authors - Dean Nelson, Michael Ryan, Serena DeVito, Ramesh KV, Petr Vlasaty, Brett Rucker, and Brian Day): ENERGY EFFICIENT DATACENTERS: THE ROLE OF MODULARITY IN DATACENTER DESIGN. More Information Sun saves $1 million/year with new datacenter Take a Virtual Tour
  • ...3 more annotations...
  • An updated 58-page Sun BluePrint covers Sun's approach to designing datacenters. (Authors - Dean Nelson, Michael Ryan, Serena DeVito, Ramesh KV, Petr Vlasaty, Brett Rucker, and Brian Day): ENERGY EFFICIENT DATACENTERS: THE ROLE OF MODULARITY IN DATACENTER DESIGN.
  • Take a Virtual Tour
  • Other articles in the Hardware section of Volume 125, Issue 1: Sun's Advanced Datacenter (Santa Clara, CA) Modular Approach Is Key to Datacenter Design for Sun Sun Datacenter Switch 3x24 See all archived articles in the
  • Paul Merrell on 11 Jul 08
     
    This page seems to be the hub for information about the Sun containerized data centers. I've highlighted links as well as text, but not all the text on the page. Info gathered in the process of surfing the linked pages: [i] the 3x24 data switch page recomends redundant Solaris instances; [ii] x64 blade servers are the design target; [iii] there is specific mention of other Sun-managed data centers being erected in Indiana and in Bangalore, India; [iv] the whiff is that Sun might not only be supplying the data centers for the Microsoft cloud but also managing them; and [v] the visual tour is very impressive; clearly some very brilliant people put a lot of hard and creative work into this.
Gonzalo San Gil, PhD.

Lawrence Lessig Wins Damages For Bogus YouTube Takedown | TorrentFreak - 1 views

torrentfreak.com/-bogus-youtube-takedown-140228

lessig wins damages youtube bogus takedown notice copyright abuse deception

shared by Gonzalo San Gil, PhD. on 28 Feb 14 - No Cached
  • Gonzalo San Gil, PhD. on 28 Feb 14
     
    " Andy on February 28, 2014 C: 32 Breaking Law professor, Creative Commons co-founder and advocate for copyright reform Lawrence Lessig has agreed to receive damages from an Australian music label. Without considering fair use Liberation wrongly had some of Lessig's work removed from YouTube and threatened to sue - it didn't go well."
Gonzalo San Gil, PhD.

copyleft [www.computerlaw.com.au] - 0 views

www.computerlaw.com.au/doku.php

copyleft GNU creative commons linux

shared by Gonzalo San Gil, PhD. on 26 Mar 13 - No Cached
  • Gonzalo San Gil, PhD. on 26 Mar 13
     
    [Steve White, Principal - White SW Computer Law In Australia, copyright protection arises as soon as an original copyright work is created. The copyright laws dictate who the copyright owner is and how long the protection lasts. Copyleft is a form of licensing by which the copyright owner may waive their rights and allow other people to share and make further amendments to the work. The concept of Copyleft is used particularly in relation to software. The idea behind Copyleft is to ensure that an individual cannot take advantage of being able to modify a free software program and then sell the resulting modified program as a new work. In some cases, any modifications made to a Copyleft program must be made freely available to all parties interested in using them. The GNU public licence is an example of a Copyleft licence. ]
  • Gonzalo San Gil, PhD. on 26 Mar 13
     
    The Future is Free or it won't be.
Gary Edwards

Meet OX Text, a collaborative, non-destructive alternative to Google Docs - Tech News a... - 0 views

gigaom.com/...ive-alternative-to-google-docs

ZOHO MSOffice-productivity One-Cloud

shared by Gary Edwards on 21 Feb 14 - No Cached
  • The German software-as-a-service firm Open-Xchange, which provides apps that telcos and other service providers can bundle with their connectivity or hosting products, is adding a cloud-based office productivity toolset called OX Documents to its OX App Suite lineup. Open-Xchange has around 70 million users through its contracts with roughly 80 providers such as 1&1 Internet and Strato. Its OX App Suite takes the form of a virtual desktop of sorts, that lets users centralize their email and file storage accounts and view all sorts of documents through a unified portal. However, as of an early April release it will also include OX Text, a non-destructive, collaborative document editor that rivals Google Docs, and that has an interesting heritage of its own.
  • The team that created the HTML5- and JavaScript-based OX Text includes some of the core developers behind OpenOffice, the free alternative to Microsoft Office that passed from Sun Microsystems to Oracle before morphing into LibreOffice. The German developers we’re talking about hived off the project before LibreOffice happened, and ended up getting hired by Open-Xchange. “To them it was a once in a lifetime event, because we allowed them to start from scratch,” Open-Xchange CEO Rafael Laguna told me. “We said we wanted a fresh office productivity suite that runs inside the browser. In terms of the architecture and principles for the product, we wanted to make it fully round-trip capable, meaning whatever file format we run into needs to be retained.”
  • This is an extremely handy formatting and version control feature. Changes made to a document in OX Text get pushed through to Open-Xchange’s backend, where a changelog is maintained. “Power” Word features such as Smart Art or Charts, which are not necessarily supported by other productivity suites, are replaced with placeholders during editing and are there, as before, when the edited document is eventually downloaded. As the OX Text blurb says, “OX Text never damages your valuable work even if it does not understand it”.
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  • “[This avoids] the big disadvantage of anything other than Microsoft Office,” Laguna said. “If you use OpenOffice with a .docx file, the whole document is converted, creating artefacts, then you convert it back. That’s one of the major reasons not everyone is using OpenOffice, and the same is true for Google Apps.” OX Text will be available as an extension to OX App Suite, which also includes calendaring and other productivity tools. However, it will also come out as a standalone product under both commercial licenses – effectively support-based subscriptions for Open-Xchange’s service provider customers – and open-source licenses, namely the GNU General Public License 2 and Creative Commons Attribution-NonCommercial-ShareAlike 2.5 License, which will allow free personal, non-commercial use. You can find a demo of App Suite, including the OX Text functionality, here, and there’s a video too:
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