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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
Gonzalo San Gil, PhD.

The Entire Copyright Monopoly Idea is Based on a Colossal Lie | TorrentFreak - 0 views

torrentfreak.com/based-on-a-colossal-lie-150621

entire copyright monopoly idea based colosal lie Rick Falkvinge

shared by Gonzalo San Gil, PhD. on 22 Jun 15 - No Cached
  • Gonzalo San Gil, PhD. on 22 Jun 15
     
    " Rick Falkvinge on June 21, 2015 C: 0 Opinion The copyright monopoly is based on the idea of an exchange. In exchange for exclusive rights, the copyright industry supplies culture and knowledge to the public. It turns out that the entire premise is a lie, as untethered creators are racing to provide culture and knowledge anyway."
Gonzalo San Gil, PhD.

Creators Must Move Beyond Suing the Audience | Electronic Frontier Foundation - 0 views

www.eff.org/...ust-move-beyond-suing-audience

trust Culture Freedom stop suing promote sharing as free promotion for all creators

shared by Gonzalo San Gil, PhD. on 29 May 10 - Cached
  • Paley avoided traditional film distribution deals and instead released the film under a Creative Commons Attribution-Share Alike license, writing: You don't need my permission to copy, share, publish, archive, show, sell, broadcast, or remix Sita Sings the Blues. Conventional wisdom urges me to demand payment for every use of the film, but then how would people without money get to see it? How widely would the film be disseminated if it were limited by permission and fees? Control offers a false sense of security. The only real security I have is trusting you, trusting culture, and trusting freedom
  • Gonzalo San Gil, PhD. on 29 May 10
     
    [...Paley avoided traditional film distribution deals and instead released the film under a Creative Commons Attribution-Share Alike license, writing: You don't need my permission to copy, share, publish, archive, show, sell, broadcast, or remix Sita Sings the Blues. Conventional wisdom urges me to demand payment for every use of the film, but then how would people without money get to see it? How widely would the film be disseminated if it were limited by permission and fees? Control offers a false sense of security. The only real security I have is trusting you, trusting culture, and trusting freedom]
Gonzalo San Gil, PhD.

Sharing and the Creative Economy: Culture in the Internet Age | Philippe Aigrain + Suza... - 2 views

paigrain.debatpublic.net/...internet_creation_1-3.pdf

Share sharing creative economy Culture Internet Quadrature du Net

shared by Gonzalo San Gil, PhD. on 23 Jan 11 - No Cached
  • Gonzalo San Gil, PhD. on 23 Jan 11
     
    [This book defends that non-market sharing of digital works, creative ac- tivities and culture will have a common fate. It proposes to organise their synergy. ...]
Gonzalo San Gil, PhD.

Pirate Bay Founder Peter Sunde Shouldn't Be in Jail, MEP Says | TorrentFreak - 0 views

torrentfreak.com/-shouldnt-jail-mep-says-140814

Julia Reda Peter Sunde legal system fails

shared by Gonzalo San Gil, PhD. on 15 Aug 14 - No Cached
  • Gonzalo San Gil, PhD. on 15 Aug 14
     
    " Ernesto on August 14, 2014 C: 13 News [Julia Reda], Member of the European Parliament for the Pirate Party, will be visiting Peter Sunde in prison later today. According to Reda the Pirate Bay founder's imprisonment is a failure of a justice system that lost touch with digital culture. "The tactic of draconian deterrence against file sharing has failed," she says. "
  • Gonzalo San Gil, PhD. on 15 Aug 14
     
    " Ernesto on August 14, 2014 C: 13 News [Julia Reda], Member of the European Parliament for the Pirate Party, will be visiting Peter Sunde in prison later today. According to Reda the Pirate Bay founder's imprisonment is a failure of a justice system that lost touch with digital culture. "The tactic of draconian deterrence against file sharing has failed," she says. "
  • Gonzalo San Gil, PhD. on 15 Aug 14
     
    " Ernesto on August 14, 2014 C: 13 News [Julia Reda], Member of the European Parliament for the Pirate Party, will be visiting Peter Sunde in prison later today. According to Reda the Pirate Bay founder's imprisonment is a failure of a justice system that lost touch with digital culture. "The tactic of draconian deterrence against file sharing has failed," she says. "
Gonzalo San Gil, PhD.

Use common goals to overcome a competitive spirit | Opensource.com - 0 views

opensource.com/...nt-competition-ruining-culture

goals opensource spirit competition vs. collaboration advantages disadvantages weaknesses strenghtening

shared by Gonzalo San Gil, PhD. on 05 Oct 16 - No Cached
  • Gonzalo San Gil, PhD. on 05 Oct 16
     
    "During the humid summer months of 1954, twenty-two 11 and 12-year-old boys were randomly split into two groups and taken to a 200-acre Boy Scouts of America camp in Robbers Cave State Park, Oklahoma. Over the next few weeks, they would unknowingly be the subjects of one of the most widely known psychological studies of our time. And the ways these groups bonded and interacted with each other draw some interesting parallels to our understanding of workplace culture."
  • Gonzalo San Gil, PhD. on 05 Oct 16
     
    "During the humid summer months of 1954, twenty-two 11 and 12-year-old boys were randomly split into two groups and taken to a 200-acre Boy Scouts of America camp in Robbers Cave State Park, Oklahoma. Over the next few weeks, they would unknowingly be the subjects of one of the most widely known psychological studies of our time. And the ways these groups bonded and interacted with each other draw some interesting parallels to our understanding of workplace culture."
Gonzalo San Gil, PhD.

Fcforum 2012 - 0 views

2012.fcforum.net/en

FCF Fcforum 2012 defense Internet Free Culture

shared by Gonzalo San Gil, PhD. on 02 Oct 12 - No Cached
  • Gonzalo San Gil, PhD. on 02 Oct 12
     
    [The struggle for the defense of the Internet and free culture grows stronger year after year, inseparable from the struggle to consolidate the paradigm change that goes hand in hand with the digital era. 2012 has seen civil society win great victories over the barbarians: ...]
Gonzalo San Gil, PhD.

EFF in 2015 - Annual Report - 0 views

www.eff.org/...index.html

eff annual report Internet freedom activism engagement review to continue and

shared by Gonzalo San Gil, PhD. on 07 May 16 - No Cached
  • Gonzalo San Gil, PhD. on 07 May 16
     
    [The Electronic Frontier Foundation was founded in 1990 to protect the rights of technology users, a mission that expands dramatically as digital devices and networks transform modern life and culture. With over 25,000 dues-paying members around the world and a social media reach of well over 1 million followers across different social networks, EFF engages directly with digital users worldwide and provides leadership on cutting-edge issues of free expression, privacy, and human rights. Our annual report features reflections from several EFF staff members about some of our most significant efforts, as well as financial information for the fiscal year ending June 2015. To learn more, read our Year in Review series. ...]
  • Gonzalo San Gil, PhD. on 07 May 16
     
    [The Electronic Frontier Foundation was founded in 1990 to protect the rights of technology users, a mission that expands dramatically as digital devices and networks transform modern life and culture. With over 25,000 dues-paying members around the world and a social media reach of well over 1 million followers across different social networks, EFF engages directly with digital users worldwide and provides leadership on cutting-edge issues of free expression, privacy, and human rights. Our annual report features reflections from several EFF staff members about some of our most significant efforts, as well as financial information for the fiscal year ending June 2015. To learn more, read our Year in Review series. ...]
Gonzalo San Gil, PhD.

Cultivating a Culture of Knowledge Sharing - Creative Commons - 0 views

creativecommons.org/...ting-culture-knowledge-sharing

cultivate create cultur knowledge sharing sharing knowledge

shared by Gonzalo San Gil, PhD. on 04 Sep 16 - No Cached
  • Gonzalo San Gil, PhD. on 04 Sep 16
     
    "Fiona MacAlister September 1, 2016 In March we hosted the second Institute for Open Leadership. In our summary of the event we mentioned that the Institute fellows would be taking turns to write about their open policy projects. This week's post is from Fiona MacAlister, OER Specialist at Wits University in Johannesburg, South Africa."
  • Gonzalo San Gil, PhD. on 04 Sep 16
     
    "Fiona MacAlister September 1, 2016 In March we hosted the second Institute for Open Leadership. In our summary of the event we mentioned that the Institute fellows would be taking turns to write about their open policy projects. This week's post is from Fiona MacAlister, OER Specialist at Wits University in Johannesburg, South Africa."
Gonzalo San Gil, PhD.

ACTA Failure Inspires The Most Clueless Column Ever | Techdirt - 2 views

www.techdirt.com/...ost-clueless-column-ever.shtml

acta failure clueless column media politics ignorance culture freedom

shared by Gonzalo San Gil, PhD. on 14 Jul 12 - No Cached
  • Gonzalo San Gil, PhD. on 14 Jul 12
     
    [from the do-these-people-think? dept Last week was a good week for those who believe in the internet and culture, with the rejection of ACTA being a key moment in Europe, on par with the rejection of SOPA in the US six months earlier. Of course, as we saw with the defeat of SOPA, a number of ACTA supporters who haven't come to terms with why the public was so upset are lashing out. One of the more outspoken responses against the EU Parliament's decision came from Ewan Morrison for The Guardian, in a piece that I honestly read over a few times to make sure it wasn't satire. I don't think there's a single truly accurate statement in the entire thing. It sets the bar of misinformation so high that I think from now on I will compare any clueless article to the newly developed Ewan Morrison scale of wrongness, with this column scoring a perfect 10 out of 10. Let's explore why. ...]
Gonzalo San Gil, PhD.

crocmusic.com | Free Culture Book's Music Promt - 0 views

ww2.crocmusic.com

Lessig Free Culture music promt free culture

shared by Gonzalo San Gil, PhD. on 24 Jan 14 - No Cached
  • Gonzalo San Gil, PhD. on 24 Jan 14
     
    [blinkbox music free music Millions of songs waiting for you free music on web, mobile & tablet. blinkboxmusic.com/free play music free Get play music free Info From 6 Search Engines at Once. uk.ZapMeta.com/play music free with feeling... New songs every month. Listen for free. stephennow.com General Music Find Professional music Shops & Lessons Near You With Local.com! UK.Local.com]
Gonzalo San Gil, PhD.

Make copyright compatible with the UN International Covenant on Economic, Social and Cu... - 0 views

acta.ffii.org/?p=2017

copyright international social rights consultation EU European Union

shared by Gonzalo San Gil, PhD. on 26 Jan 14 - No Cached
  • Gonzalo San Gil, PhD. on 26 Jan 14
     
    "January 26, 2014 By Ante I just made a personal submission to the Public Consultation on the review of the EU copyright rules. I used the You can fix copyright website. Very handy, thanks! I added an attachment, see below or pdf, in which I argue that copyright law has to be made compatible with the UN International Covenant on Economic, Social and Cultural Rights (ICESCR)."
Gonzalo San Gil, PhD.

EU Commission Set to Unveil New Anti-Piracy Action Plans | TorrentFreak - 0 views

torrentfreak.com/nti-piracy-action-plans-140621

EU Europe commission new plans fight piracy other issues first follow the money let culture thrive

shared by Gonzalo San Gil, PhD. on 22 Jun 14 - No Cached
  • Gonzalo San Gil, PhD. on 22 Jun 14
     
    # ! as if they weren't more important issues... # ! ... but let's see 'The Plan'.. # ! "follow the money" is good... # ! ... and let the #culture #thrive... "The EU Commission will next week announce new strategies for dealing with online piracy and counterfeiting. These non-legislative measures will include an EU action plan aimed at fighting IP infringement, plus a strategy to protect and enforce IP rights in third countries. Perhaps unsurprisingly, the aim is to "follow the money"."
  • Gonzalo San Gil, PhD. on 22 Jun 14
     
    # ! as if they weren't more important issues... # ! ... but let's see 'The Plan'.. "The EU Commission will next week announce new strategies for dealing with online piracy and counterfeiting. These non-legislative measures will include an EU action plan aimed at fighting IP infringement, plus a strategy to protect and enforce IP rights in third countries. Perhaps unsurprisingly, the aim is to "follow the money"."
Gonzalo San Gil, PhD.

SoundCloud close to inking deals with record labels | The Music Network - 0 views

www.themusicnetwork.com/ose-inking-deals-record-labels

soundcloud deals record labels music siege independents culture attack

shared by Gonzalo San Gil, PhD. on 15 Jul 14 - No Cached
  • Gonzalo San Gil, PhD. on 15 Jul 14
     
    # ! #Everytime a '#Deal' is '#inked' 'this way'... # ! … a bunch of #Songs #Die… # ! … The #Music #cries… # ! …The #Culture #loses… # ! .. a #Cold #Silence fills it all. "Poppy Reid - Jul 14, 2014 Audio streaming platform SoundCloud is allegedly finalising licensing deals with the major labels and publishers."
  • Gonzalo San Gil, PhD. on 15 Jul 14
     
    # ! Siege to Independents "Poppy Reid - Jul 14, 2014 Audio streaming platform SoundCloud is allegedly finalising licensing deals with the major labels and publishers."
Gonzalo San Gil, PhD.

(7) Music consumption at the dawn of the music industry: the rise of a cultural fad | M... - 0 views

www.academia.edu/...try_the_rise_of_a_cultural_fad

music consumption dawn industry rise fad academia edu

shared by Gonzalo San Gil, PhD. on 18 May 15 - No Cached
  • Gonzalo San Gil, PhD. on 18 May 15
     
    [Marco Guerzoni * Massimiliano Nuccio Received: 3 May 2012 / Accepted: 22 May 2013 Springer Science+Business Media New York 2013 Abstract This paper discusses the extent to which sociodemographic characteristics of consumers and their past consumption are less effective in explaining the decision of purchasing a cultural good than the characteristics of the product itself, which allow for imitative behaviors and are at the basis of distinction. While the ...]
Gonzalo San Gil, PhD.

Hypocrite Forks the Linux Kernel Because of Cultural Characteristics That He Himself is... - 0 views

techrights.org/...forking-with-hypocrisy

Dr. Roy Schestowitz hypocrite Linux fork due cultural characteristics culture

shared by Gonzalo San Gil, PhD. on 09 Oct 15 - No Cached
  • Gonzalo San Gil, PhD. on 09 Oct 15
     
    "osted in GNU/Linux, Kernel at 1:00 pm by Dr. Roy Schestowitz Summary: Forking of Linux is misleadingly reported in the media because of a couple of very loud people, who are not even quitting their jobs"
Gonzalo San Gil, PhD.

Open source as a tool of cultural change | Opensource.com - 0 views

opensource.com/...o-interview-kaitlin-devine-18f

open source for cultural change shift culture change share

shared by Gonzalo San Gil, PhD. on 13 Oct 15 - No Cached
  • Gonzalo San Gil, PhD. on 13 Oct 15
     
    All Things Open interview with Kaitlin Devine, 18F "Keep an eye on govcode.org-it pulls GitHub issues from lots of government repos, and it's a great place to get started if you want to contribute. Also follow @newgovrepos if you want to see new government repos as they appear on GitHub. Don't forget that repos aren't just for code-you can file issues and give feedback on government services even if you don't code."
  • Gonzalo San Gil, PhD. on 13 Oct 15
     
    All Things Open interview with Kaitlin Devine, 18F "Keep an eye on govcode.org-it pulls GitHub issues from lots of government repos, and it's a great place to get started if you want to contribute. Also follow @newgovrepos if you want to see new government repos as they appear on GitHub. Don't forget that repos aren't just for code-you can file issues and give feedback on government services even if you don't code."
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