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Gary Edwards

Running beyond the browser - 0 views

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    Although there are many ways to slice this discussion, it might be useful to compare Adobe RIA and Microsoft Silverlight RIA in terms of web ready, highly interactive documents. The Adobe RIA story is quite different from that of Silverlight. Both however exploit the shortcomings of browsers; shortcomings that are in large part, i think, due to the disconnect the browser community has had with the W3C. The W3C forked off the HTML-CSS path, putting the bulk of their attention into XML, RDF and the Semantic Web. The web developer community stayed the course, pushing the HTML-CSS envelope with JavaScript and some rather stunning CSS magic. Adobe seems to have picked up the HTML-CSS-Javascript trail with a Microsoft innovation to take advantage of browser cache, DHTML (Dynamic HTML). DHTML morphs into AJAX, (which so wild as to have difficulty scaling). And AJAX gets tamed by an Adobe-Apple sponsored WebKit. Most people see WebKit as a browser specific layout engine, and compare it to the IE and Gecko on those terms. I would argue however that WebKit is both a document model and, a document format. For sure it's a framework for very advanced HTML-CSS-DOM-Javascript work. Because the Adobe AIR run-time is based on WebKit layout, WebKit documents can hit on all cylinders across any browser able to implement the AIR plug-in. Meaning, web developers and web content providers need only target the WebKit document model to attain the interactive access ubiquity all seek. Very cool. Let me also add that the WebKit HTML-CSS-DOM-Javascript model is capable of "fixed/flow" representation. I'll explain the importance of "fixed/flow" un momento, but think about how iPhone renders a web page and you'll understand the "flow" side of this equation.
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Gary Edwards

Google Chrome: Bad news for Adobe « counternotions - 0 views

  • Agree with much of what Kontra said and disagree with many who mentioned alternatives to JavaScript/Chrome. The main, simplest reason Adobe will be in a losing fight in terms of web platform? The Big Two - Google and Microsoft - will never make themselves dependent on or promote Adobe platform and strategy.
  • Luis, I think that’s already in play with HTML5. As I pointed out in Runtime wars (2): Apple’s answer to Flash, Silverlight and JavaFX, Apple and WHATWG are firmly progressing along those lines. Canvas is at the center of it. The glue language for all this, JavaScript, is getting a potent shot in the arm. The graphics layer, at the level of SVG, needs more work. And so on.
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    "What's good for the Internet is good for Google, and the company says its strategic proposition for the newly introduced Chrome browser is: a better platform is needed to deliver a new generation of online applications......." This is one of the best explanations of why Google had to do Chrome i've seen thus far. Kontra also provided some excellent coverage concerning the Future of the Web in a two part article previously published. Here he nails the RiA space, comparing Google Chrome, Apollo (Adobe AiR/Flex/Flash) and Microsoft Silverlight. Chrome is clearly an Open Web play. Apollo and Sivlerlight are proprietary bound in some way. Although it must be said that Apollo implements the SAME WebKit layout engine / WebKit docuemtn model as Google Chrome, Apple Safari-iPhone, Nokia, RiM and the Iris "Smart Phone" browser. The WebKit model is based on advanced HTML, CSS, SVG and JavaScript. Where Adobe goes proprietary is in replacing SVG with the proprietary SWF. The differences between JavaScript and ActionScript are inconsequential to me, especially given the problems at Ecma. One other point not covered by Kontra is the fact that Apollo and Silverlight can run as either browser plugins or standalone runtimes. Wha tthey can't do though is run as sufing browsers. They are clearly for Web Applications. Chome on the other hand re-invents the browser to handle both surfing mode AND RiA. Plus, a Chrome RiA can also run as a plugin in other browsers (Opera and FireFox). Very cool. The last point is that i wouldn't totally discount Apple RiA. They too use WebKit. The differnece is tha tApple uses the SquirrelFish JavaScript JiT with the SproutCore-Cocoa developers framework. This approach is designed to bridge the gap between the OSX desktop/server Cocoa API, and the WebKit-SproutCore API. Chrome uses the V8 JiT. And Adobe uses Tamarin to compile JavaScript-ActionScript. Tamarin was donated to the Mozilla community. If there is anythin that will s
Gary Edwards

The new UI wars: Why there's no Flash on iPhone 2.0 « counternotions - 0 views

  • - publishers of Flash apps have to port their apps to native Web apps if they want to run inside a Web browser going forward because the Web has moved off the PC, you can’t accessorize it with PC software anymore, WebKit is so small and light and cross-platform that it is the plug-in now, inside iPhone, iPod, Nokia, Android, iTunes and other Mac and Windows apps - publishers of Flash video have to deploy MPEG-4 H.264/AAC if they want to run inside an audio-video player (on any device) going forward, the decoder chips for this are already in EVERYTHING, from iPod to Blu-Ray to NVIDIA GPU’s Most of the world has already done both of the above, including Google and Apple. This is not the beginning of the end for Flash, it is the end of the end.
  • Notice he doesn’t say at all that Flash is running natively on the ARM CPU inside the iPhone. And once again, as I point out in the article above, technical problems may be solved by Adobe, but cross-platform runtime compatibility and multi-touch UI frameworks remain as serious impediments.
  • the direction Apple is taking in WebKit with canvas, downloadable fonts, SVG, CSS animation, CSS transformations, faster JavaScript, HTML5 audio/video embedding, exposure of multi-touch to JS and so on is precisely to create an open source alternative to the Flash runtime engine, without having to download a proprietary plugin:
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    this article takes the RiA discussion to an entirely new level - the battle between Apple, Adobe and Microsoft to control the future user interface (UI). Adobe Flash extends the aging WiMP model, trying to create a "UI Convergence" across many platforms through the Flash RiA. With iPhone, Apple introduces the patented "gestures UI", running off the WebKit RiA. Microsoft presumably is copying the Flash RiA with the XAML rich WPF Silverlight RiA. Unfortunately, counternotions doe snot cover Silverlight. This incredible discussion is limited to Adobe and Apple.
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Gary Edwards

Flash Wars: Adobe Fights for AIR with the Open Screen Project [Part 3 of 3] | AppleInsider - 0 views

  • Two areas where Flash can offer real value is in displaying and packaging video on the web, and in serving as a Java replacement for developing applets. Here's a look at how Adobe is working to defend its strengths in the face of competition, and how its efforts to open the Flash specification in the Open Screen Project play into these efforts.
  • proprietary FLV video container format
  • more advanced and open H.264 video codec
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  • Apple's ability to disrupt the status quo in video playback is evident in its deal with Google to vend YouTube videos to the iPhone, iPod Touch, and Apple TV as straight H.264 rather than Google's existing mix of a Flash-based player and its archaic GVI file format based upon AVI.
  • As Apple's hardware-based H.264 playback in mobile devices begins to define how to reach affluent customers with content, Flash will increasingly lose any allure on the PC desktop as well, as developers won't want to target PCs and mobiles using two different systems.
  • Adobe seems to be hoping that nobody notices these problems and that its vigilant marketing efforts can entrance the public into thinking that a drawing app extended into an animation tool and then retrofitted into a monstrous hack of a development platform is a superior technology basis for building web apps compared to the use of modern open standards created expressly to promote true interoperability by design rather than retroactively.
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    Part two of the Prince McClean Adobe-Flash history. Excellent history involves Adobe SVG, Microsoft VmL-XAML-Silverlight, Apple WebKit, Sun (Java) as they battle for dominance over web applications and the future of the Web itself.
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Gary Edwards

The Open Web: Next-Generation Standards Support in WebKit/ Safari - 0 views

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    Apple has posted an interesting page describing Safari technologies. Innovations and support for existing standards as well as the ACID3 test are covered.

    Many people think that the Apple WebKit-Safari-iPhone innovations are pushing Open Web Standards beyond beyond the limits of "Open", and deep into the verboten realm of vendor specific extensions. Others, myself included, believe that the WebKit community has to do this if Open Web technologies are to be anyway competitive with Microsoft's RiA (XAML-Silverlight-WPF).

    Adobe RiA (AiR-Flex-Flash) is also an alternative to WebKit and Microsoft RiA; kind of half Open Web, half proprietary though. Adobe Flash is of course proprietary. While Adobe AiR implements the WebKit layout engine and visual document model. I suspect that as Adobe RiA loses ground to Microsoft Silverlight, they will open up Flash. But that's not something the Open Web can afford to wait for.

    In many ways, WebKit is at the cutting edge of Ajax Open Web technologies. The problems of Ajax not scaling well are being solved as shared JavaScript libraries continue to amaze, and the JavaScript engines roar with horsepower. Innovations in WebKit, even the vendor-device specific ones, are being picked up by the JS Libraries, Firefox, and the other Open Web browsers.

    At the end of the day though, it is the balance between the ACiD3 test on one side and the incredible market surge of WebKit smartphones, countertops, and netbook devices at the edge of the Web that seem to hold things together.

    The surge at the edge is washing back over the greater Web, as cross-browser frustrated Web designers and developers roll out the iPhone welcome. Let's hope the ACiD3 test holds. So far it's proving to be a far more important consideration for maintaining Open Web interop, without sacrificing innovation, than anything going on at the stalled W3C.

    "..... Safari continues to lead the way, implementing
Gonzalo San Gil, PhD.

Should you remove Adobe Flash from Linux? | ITworld - 1 views

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    "In today's open source roundup: Is it time to remove Adobe Flash from your Linux computer? Plus: Adobe recently updated Flash to version 18.0.0.209. And how to remove Flash from your Linux computer"
Gary Edwards

WebKit, AJAX and ARAX | Readers Welcome ARAX and More: Darryl Taft follow-up zdnet - 0 views

  • A commenter on the ARAX article on eWEEK's site named Gary Edwards said, "It seems to me that Adobe and Microsoft are using the browser plug-in model as a distribution channel for their proprietary run-time engines. Or should we call them VMs [virtual machines]? "The easiest way for Web developers to sidestep problematic browser wars, and still be able to push the envelope of the interactive Web, may well be to write to a universal run-time plug-in like Adobe AIR or Microsoft Silverlight. IMHO, the 'browser' quickly fades away once this direct development sets in." Moreover, Edwards said, "Although there are many ways to slice this discussion, it might be useful to compare Adobe RIA [Rich Internet Applications] and Microsoft Silverlight RIA in terms of Web-ready, highly interactive documents. The Adobe RIA story is quite different from that of Silverlight. Both however exploit the shortcomings of browsers; shortcomings that are in large part, I think, due to the disconnect the browser community has had with the W3C [World Wide Web Consortium]. The W3C forked off the HTML-CSS [Cascading Style Sheets] path, putting the bulk of their attention into XML, RDF and the Semantic Web. The Web developer community stayed the course, pushing the HTML-CSS envelope with JavaScript and some rather stunning CSS magic. "Adobe seems to have picked up the HTML-CSS-JavaScript trail with a Microsoft innovation to take advantage of browser cache, DHTML (Dynamic HTML). DHTML morphs into AJAX, (which [is] so wild as to have difficulty scaling). And AJAX gets tamed by an Adobe-Apple sponsored WebKit."
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    Darryl Taft writes a follow up article covering the comments to his original AJAX-ARAX ruby on rails MS-iron python story
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Gary Edwards

AJAX, AIR, RIA, Adobe Getting It, David Mendels and "Rich Internet Apps: How ... - 0 views

  • What we saw them do was create a single screen application with rich interactivity on the client, but still all of the benefits of being a web based application (nothing to install, back end connectivity for inventory and other data using XML, use of client side media/animation to guide the user, reachable through any browser, etc.) We really looked at this as the best of web applications and the best of desktop applications: rich connectivity, platform independence, no install, lightweight as well as rich client side logic and interactivity, ability to integrate rich media and communications. But we dropped the baggage of the page based metaphor that basically required a page refresh for everything and got beyond the layout/graphics/media constraints of HTML.
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    Blog from James Governor covers an exchange with Adobe's David Mendels concerning the transition from the static document centric Web 1.0, to the dynamic application platform we know today as the Web 2.0. David discusses the transition from DHTML to AJAX to RIA. David and his group at Adobe witnessed the transition and coined the phrase RIA - Rich Internet Application, to describe this incredible transition. No mention of WebKit as an important aspect enabling the interactive - dynamic document model behind Adobe RIA.
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Paul Merrell

Adobe Press Room: Adobe and ARM Accelerate Flash and AIR for ARM Platforms - 0 views

  • “ARM believes this partnership will develop optimized Adobe Flash and AIR implementations that will run on billions of devices from our partners such as pocket-sized mobile devices, mobile computing platforms, set-top boxes, digital TVs and automotive infotainment,” said Ian Drew, vice president, Marketing, at ARM
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    Yup. They're making noises about moving Flash and AIR into ARM-based appliances. This seems a sound strategic move for Adobe in response to Silverlight, drilling hard for the big computing market that already dwarfs the desktop computer market. It ain't just about the desktop and the Web anymore, folks.
Paul Merrell

Could Adobe be open-sourcing Flash? - Computerworld Blogs - 0 views

  • ow, however, with Strobe, its just announced Flash framework, Adobe looks like it may be getting more open-source friendly as well. Strobe, which will show up in the 3rd quarter of 2009, is an open framework for creating SWF (ShockWave Flash) server-side players. With Strobe, content creators and Web developers will be able to easily create sites that host their own video.
  • To make sure that the Flash family beats out the likes of Microsoft's Silverlight and its Linux little-brother Novell's Moonlight, Adobe is also considering open-sourcing its flagship Flash player. As part of the Open Screen Project, Adobe has already opened up much of Flash.
  • To make sure that the Flash family beats out the likes of Microsoft's Silverlight and its Linux little-brother Novell's Moonlight, Adobe is also considering open-sourcing its flagship Flash player. As pa
Gary Edwards

Readium at the London Book Fair 2014: Open Source for an Open Publishing Ecosystem: Rea... - 0 views

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    excerpt/intro: Last month marked the one-year anniversary of the formation of the Readium Foundation (Readium.org), an independent nonprofit launched in March 2013 with the objective of developing commercial-grade open source publishing technology software. The overall goal of Readium.org is to accelerate adoption of ePub 3, HTML5, and the Open Web Platform by the digital publishing industry to help realize the full potential of open-standards-based interoperability. More specifically, the aim is to raise the bar for ePub 3 support across the industry so that ePub maintains its position as the standard distribution format for e-books and expands its reach to include other types of digital publications. In its first year, the Readium consortium added 15 organizations to its membership, including Adobe, Google, IBM, Ingram, KERIS (S. Korea Education Ministry), and the New York Public Library. The membership now boasts publishers, retailers, distributors and technology companies from around the world, including organizations based in France, Germany, Norway, U.S., Canada, China, Korea, and Japan. In addition, in February 2014 the first Readium.org board was elected by the membership and the first three projects being developed by members and other contributors are all nearing "1.0" status. The first project, Readium SDK, is a rendering "engine" enabling native apps to support ePub 3. Readium SDK is available on four platforms-Android, iOS, OS/X, and Windows- and the first product incorporating Readium SDK (by ACCESS Japan) was announced last October. Readium SDK is designed to be DRM-agnostic, and vendors Adobe and Sony have publicized plans to integrate their respective DRM solutions with Readium SDK. A second effort, Readium JS, is a pure JavaScript ePub 3 implementation, with configurations now available for cloud based deployment of ePub files, as well as Readium for Chrome, the successor to the original Readium Chrome extension developed by IDPF as the
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    excerpt/intro: Last month marked the one-year anniversary of the formation of the Readium Foundation (Readium.org), an independent nonprofit launched in March 2013 with the objective of developing commercial-grade open source publishing technology software. The overall goal of Readium.org is to accelerate adoption of ePub 3, HTML5, and the Open Web Platform by the digital publishing industry to help realize the full potential of open-standards-based interoperability. More specifically, the aim is to raise the bar for ePub 3 support across the industry so that ePub maintains its position as the standard distribution format for e-books and expands its reach to include other types of digital publications. In its first year, the Readium consortium added 15 organizations to its membership, including Adobe, Google, IBM, Ingram, KERIS (S. Korea Education Ministry), and the New York Public Library. The membership now boasts publishers, retailers, distributors and technology companies from around the world, including organizations based in France, Germany, Norway, U.S., Canada, China, Korea, and Japan. In addition, in February 2014 the first Readium.org board was elected by the membership and the first three projects being developed by members and other contributors are all nearing "1.0" status. The first project, Readium SDK, is a rendering "engine" enabling native apps to support ePub 3. Readium SDK is available on four platforms-Android, iOS, OS/X, and Windows- and the first product incorporating Readium SDK (by ACCESS Japan) was announced last October. Readium SDK is designed to be DRM-agnostic, and vendors Adobe and Sony have publicized plans to integrate their respective DRM solutions with Readium SDK. A second effort, Readium JS, is a pure JavaScript ePub 3 implementation, with configurations now available for cloud based deployment of ePub files, as well as Readium for Chrome, the successor to the original Readium Chrome extension developed by IDPF as the
Gary Edwards

Does "A VC" have a blind spot for Apple? « counternotions on Flash, WebKit an... - 0 views

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    Flash versus Open: Perhaps one thing we can all agree on is that the future of the web, mobile or otherwise, will be more or less open. That would be HTML, MP3, H.264, HE-AAC, and so on. These are not propriatery Adobe products, they are open standards…unlike Flash. In confusing codecs with UI, Wilson keeps asking, "why is it tha[t] most streaming audio and video on the web comes through flash players and not html5 based players?" The answer is rather pedestrian: HTML5 is just ramping up, but Flash IDE has been around for many years. Selling Flash IDE and back-end server tools has been a commercial focus for Adobe, while Apple, for example, hasn't paid much attention to QuickTime technologies and promotion in ages. It's thus reflected in adoption patterns. Hopefully, this summary will clear Wilson's blind spot: Apple is betting on open technologies (as it makes money on hardware) while Adobe (which only sells software) is betting on wrapping up content in a proprietary shackle called Flash.
Paul Merrell

Ashutosh Sharma: Adobe AIR for Linux Beta is out! - 0 views

  • We just released the beta version of Adobe AIR for Linux on Adobe Labs! This Labs release of AIR has all features implemented for Linux, except support for DRM and badge installations. Major new features include support for system tray icons, keyboard shortcuts, localization, internationalized input (IME support), filetype registration, SWF and PDF in HTML, multi-monitor support, fullscreen mode, encrypted local storage, support for V4L2 cameras and printing. The list of supported distributions has also been updated to: 1. Ubuntu 7.10 2. Fedora 8 3. OpenSuSE 10.3
Gary Edwards

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

  • 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?
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  • 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
  •  
    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
  •  
    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 agonizingly slow decline of Adobe Flash Player [Via Note] - 0 views

  •  
    "This story on Adobe Flash was supposed to turn out a bit differently. The idea was to talk with some of the biggest websites still using Adobe's browser plugin, which has fallen out of favor within tech circles for its constant security issues and thirst for system resources. Maybe they could explain why Flash is still necessary, offering a counterpoint to the resounding calls to end its existence."
Paul Merrell

Adobe Flash Player Download - 0 views

  • NOTE: Adobe Flash Player 11.2 will be the last version to target Linux as a supported platform. Adobe will continue to provide security backports to Flash Player 11.2 for Linux
  •  
    And the winner is .... [drumroll] ... HTML5
Gonzalo San Gil, PhD.

Surprise! Adobe Flash has a security flaw on Windows, Mac and Linux - 0 views

  •  
    "Well, it's been a week since we've heard about a security vulnerability in Adobe Flash -- that's like a lifetime in terms of this program. While the application is slowly receding, it's far from dead and that means users have reason for worry."
Gary Edwards

Runtime wars (2): Apple's answer to Flash, Silverlight and JavaFX « counterno... - 0 views

  • Apple’s Trojan horse in multi-platform, multimedia runtime is a piece of open source technology that’s already on Windows, Mac OS X, Linux, Adobe Flex/AIR, iPhone, iPod touch, Nokia S60 smartphones and Google’s new Android/Open Handset Alliance, with 30+ partners around the globe: WebKit 3.0.
  •  
    WebKit is Apple's Trojan Horse! Excellent introduction to WebKit presented in the context of Adobe and Microsoft RiA's.
  •  
    Most quality online stores. Know whether you are a trusted online retailer in the world. Whatever we can buy very good quality. and do not hesitate. Everything is very high quality. Including clothes, accessories, bags, cups. Highly recommended. This is one of the trusted online store in the world. View now www.retrostyler.com
Gary Edwards

Olympics set the stage for Web tech fight | Tech News on ZDNet - 0 views

  • Microsoft is approaching Silverlight from the opposite direction. It plans to take advantage of its legions of outside developers experienced in writing for its ubiquitous Windows operating system. The next version of Silverlight, being tested now and due later this year, will support Microsoft's .NET framework -- tools used by developers to create desktop applications that work on Windows.
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    Adobe vs. Microsoft Gartner analyst Ray Valdes said 90 percent of the top global 1,000 companies have yet to deploy any sort of RIA, while 90 percent of the top 100 consumer Web sites have already done so using the nonproprietary and more simple AJAX format. That opportunity has Microsoft eyeing current leader Adobe for business that extends beyond Silverlight and into the sale of design tools along with server and database software to enable these new applications.
Gary Edwards

WebKit and Java: James Gosling on JWebPane - 0 views

  •  
    James Gosling was asked an interesting question about the future of Java. Question: "if he had a magic wand and could change anything in the Java ecosystem (platform, language etc) what would it be? His answer was getting WebKit into the Java platform via JWebPane!

    One can only hope that Java RiA can successfully the WebKit graphical interface and visual document model with the same multi-touch, multi-modal artistry as Apple's iPhone and Safari.

    Adobe is similarly trying to enable the WebKit layout and visual document model in AiR. So far it's just ok. Based on the Flash-Flex runtime engine, AiR does have problems with multi-touch and multi-modal WebKit interface features. How Adobe deals with the inherent conflicts between canvas/JavaScript and Flash SWF also remains to be seen.
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