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Alexandra IcecreamApps

TeamViewer Alternatives: 5 Best Remote Desktop Software - Icecream Tech Digest - 1 views

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    Remote desktop access programs help users work on a computer through another one. Such programs can be extremely helpful for mutual work between people, technical support, and various help and tutorials. Basically, desktop sharing programs are perfect for all sorts … Continue reading →
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    Remote desktop access programs help users work on a computer through another one. Such programs can be extremely helpful for mutual work between people, technical support, and various help and tutorials. Basically, desktop sharing programs are perfect for all sorts … Continue reading →
Gonzalo San Gil, PhD.

Pydio - An Open Source Alternative To Dropbox - Unixmen - 0 views

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    "About Pydio Having a private file server is always a best idea. Instead of saving your precious data in the third party servers and Cloud, why not turn your old system into a robust File server, put your data safely in it, and access them anywhere from any device? Sounds good? Let me introduce Pydio, an open source alternative to Dropbox and box.net."
Gonzalo San Gil, PhD.

Dropbox Alternatives for Linux Users - Datamation - 1 views

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    "Like many of you, I too have found myself wooed by the convenience of using Dropbox. It's cross platform, simple to setup and provides a cloud storage option for those who might otherwise be less inclined to store files off-site. In this article I'll explore alternatives to Dropbox for Linux users."
Gonzalo San Gil, PhD.

Hate Amazon? 6 alternatives for buying books, electronics and more | ITworld - 0 views

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    "Here's where to buy if you want to avoid the Web's biggest bully By Preston Gralla May 28, 2014, 11:35 AM - The Amazon bully just got nastier, with Amazon refusing to take orders for upcoming books from publisher Hachette for authors including J.K. Rowling, Tina Fey, and others, because Hachette won't agree to Amazon's lowball pricing demands. Tired of buying from the world's nastiest Web site? There are plenty of other alternatives --- here are six of my favorites."
Paul Merrell

The Social Media Exodus Has Begun. Here's Where Everybody's Going. : The Corbett Report - 2 views

  • 10 years ago, everybody was on MySpace. 10 years from now, the Twitters and Facebooks and YouTubes of today will be dinosaurs, abandoned by users sick of censorship and centralized control. Thankfully, the alternatives to these social media dinosaurs are already here, and they’re blockchain-based, torrent friendly, decentralized and censorship resistant.
  • SHOW NOTES Leaked Twitter API data shows the number of tweets is in serious decline Yep, science confirms that quitting Facebook makes people happier Facebook ‘made China censorship tool’ Facebook is censoring posts in Thailand that the government has deemed unsuitable The Corbett Report on Steemit The Corbett Report on Minds.com The Corbett Report on BitChute Ray Vahey on Twitter
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    Secure alternatives to current social media giants.
Gonzalo San Gil, PhD.

Hungry for Authentic Journalism? Picture This! | Jerry Ashton | LinkedIn - 0 views

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    "One of the most significant outcomes so far in this election cycle has been the exposure of Main Stream Media (MSM) as a sham and the noisy emergence of its antidote - Alternative Media (Alt.M)."
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    "One of the most significant outcomes so far in this election cycle has been the exposure of Main Stream Media (MSM) as a sham and the noisy emergence of its antidote - Alternative Media (Alt.M)."
Gonzalo San Gil, PhD.

Open source webmail clients for browser-based email | Opensource.com - 0 views

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    "... But Gmail is far from the only name in the game when it comes to web-based email clients. In fact, there are a number of open source alternatives available for those who want more freedom, and occasionally, a completely different approach to managing their email without relying on a desktop client. ..."
Gonzalo San Gil, PhD.

The energy and greenhouse-gas implications of internet video streaming in the United St... - 0 views

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    [# ! Via Francisco Manuel Hernandez Sosa's FB...] OPEN ACCESS Arman Shehabi1, Ben Walker2 and Eric Masanet2 "Letters The rapid growth of streaming video entertainment has recently received attention as a possibly less energy intensive alternative to the manufacturing and transportation of digital video discs (DVDs). This study utilizes a life-cycle assessment approach to estimate the primary energy use and greenhouse-gas emissions associated with video viewing through both traditional DVD methods and online video streaming. Base-case estimates for 2011 video viewing energy and CO2(e) emission intensities indicate video streaming can be more efficient than DVDs, depending on DVD viewing method. "
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    OPEN ACCESS Arman Shehabi1, Ben Walker2 and Eric Masanet2 "Letters The rapid growth of streaming video entertainment has recently received attention as a possibly less energy intensive alternative to the manufacturing and transportation of digital video discs (DVDs). This study utilizes a life-cycle assessment approach to estimate the primary energy use and greenhouse-gas emissions associated with video viewing through both traditional DVD methods and online video streaming. Base-case estimates for 2011 video viewing energy and CO2(e) emission intensities indicate video streaming can be more efficient than DVDs, depending on DVD viewing method. "
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    [# ! Via Francisco Manuel Hernandez Sosa's FB...] OPEN ACCESS Arman Shehabi1, Ben Walker2 and Eric Masanet2 "Letters The rapid growth of streaming video entertainment has recently received attention as a possibly less energy intensive alternative to the manufacturing and transportation of digital video discs (DVDs). This study utilizes a life-cycle assessment approach to estimate the primary energy use and greenhouse-gas emissions associated with video viewing through both traditional DVD methods and online video streaming. Base-case estimates for 2011 video viewing energy and CO2(e) emission intensities indicate video streaming can be more efficient than DVDs, depending on DVD viewing method. "
Gonzalo San Gil, PhD.

Linux vs. BSD: Which Should You Use? - 0 views

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    " By Danny Stieben on 13th January, 2015 | Linux | 11 Comments At MakeUseOf, we cover Linux quite a bit as the "alternative" to Windows and Mac OS X. However, those aren't the only three operating systems out there - there's also the BSD family of Unix-like operating systems, which are technically speaking different from Linux."
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    " By Danny Stieben on 13th January, 2015 | Linux | 11 Comments At MakeUseOf, we cover Linux quite a bit as the "alternative" to Windows and Mac OS X. However, those aren't the only three operating systems out there - there's also the BSD family of Unix-like operating systems, which are technically speaking different from Linux."
Paul Merrell

The punk rock internet - how DIY ​​rebels ​are working to ​replace the tech g... - 0 views

  • What they are doing could be seen as the online world’s equivalent of punk rock: a scattered revolt against an industry that many now think has grown greedy, intrusive and arrogant – as well as governments whose surveillance programmes have fuelled the same anxieties. As concerns grow about an online realm dominated by a few huge corporations, everyone involved shares one common goal: a comprehensively decentralised internet.
  • In the last few months, they have started working with people in the Belgian city of Ghent – or, in Flemish, Gent – where the authorities own their own internet domain, complete with .gent web addresses. Using the blueprint of Heartbeat, they want to create a new kind of internet they call the indienet – in which people control their data, are not tracked and each own an equal space online. This would be a radical alternative to what we have now: giant “supernodes” that have made a few men in northern California unimaginable amounts of money thanks to the ocean of lucrative personal information billions of people hand over in exchange for their services.
  • His alternative is what he calls the Safe network: the acronym stands for “Safe Access for Everyone”. In this model, rather than being stored on distant servers, people’s data – files, documents, social-media interactions – will be broken into fragments, encrypted and scattered around other people’s computers and smartphones, meaning that hacking and data theft will become impossible. Thanks to a system of self-authentication in which a Safe user’s encrypted information would only be put back together and unlocked on their own devices, there will be no centrally held passwords. No one will leave data trails, so there will be nothing for big online companies to harvest. The financial lubricant, Irvine says, will be a cryptocurrency called Safecoin: users will pay to store data on the network, and also be rewarded for storing other people’s (encrypted) information on their devices. Software developers, meanwhile, will be rewarded with Safecoin according to the popularity of their apps. There is a community of around 7,000 interested people already working on services that will work on the Safe network, including alternatives to platforms such as Facebook and YouTube.
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  • Once MaidSafe is up and running, there will be very little any government or authority can do about it: “We can’t stop the network if we start it. If anyone turned round and said: ‘You need to stop that,’ we couldn’t. We’d have to go round to people’s houses and switch off their computers. That’s part of the whole thing. The network is like a cyber-brain; almost a lifeform in itself. And once you start it, that’s it.” Before my trip to Scotland, I tell him, I spent whole futile days signing up to some of the decentralised social networks that already exist – Steemit, Diaspora, Mastadon – and trying to approximate the kind of experience I can easily get on, say, Twitter or Facebook.
  • And herein lie two potential breakthroughs. One, according to some cryptocurrency enthusiasts, is a means of securing and protecting people’s identities that doesn’t rely on remotely stored passwords. The other is a hope that we can leave behind intermediaries such as Uber and eBay, and allow buyers and sellers to deal directly with each other. Blockstack, a startup based in New York, aims to bring blockchain technology to the masses. Like MaidSafe, its creators aim to build a new internet, and a 13,000-strong crowd of developers are already working on apps that either run on the platform Blockstack has created, or use its features. OpenBazaar is an eBay-esque service, up and running since November last year, which promises “the world’s most private, secure, and liberating online marketplace”. Casa aims to be an decentralised alternative to Airbnb; Guild is a would-be blogging service that bigs up its libertarian ethos and boasts that its founders will have “no power to remove blogs they don’t approve of or agree with”.
  • An initial version of Blockstack is already up and running. Even if data is stored on conventional drives, servers and clouds, thanks to its blockchain-based “private key” system each Blockstack user controls the kind of personal information we currently blithely hand over to Big Tech, and has the unique power to unlock it. “That’s something that’s extremely powerful – and not just because you know your data is more secure because you’re not giving it to a company,” he says. “A hacker would have to hack a million people if they wanted access to their data.”
Gonzalo San Gil, PhD.

Online Piracy Drops in Australia, Thanks to Netflix - TorrentFreak - 0 views

    • Gonzalo San Gil, PhD.
       
      # ! #choice is the #chance, not persecution of (sharing) Aficionad@s who, in the other hand, are giving important lessons to the industry...
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    " Ernesto on October 14, 2015 C: 49 News For the first time in years, online piracy rates have dropped significantly in Australia. The downswing coincides with the launch of Netflix, which played a key role as most consumers who say they are pirating less cite legal alternatives as the main reason. "
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    " Ernesto on October 14, 2015 C: 49 News For the first time in years, online piracy rates have dropped significantly in Australia. The downswing coincides with the launch of Netflix, which played a key role as most consumers who say they are pirating less cite legal alternatives as the main reason. "
Gonzalo San Gil, PhD.

Shazam Music Search Alternative For Linux - Freedom Penguin - 0 views

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    "True to its name, instantmusic provides you with the ability to determine the name of a song/artist simply by providing some clues about the song. "
Alexandra IcecreamApps

Best Free Microsoft Word Alternatives - Icecream Tech Digest - 0 views

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    Opening and editing text documents is a daily task for the majority of computer users. Without doubt, the first word processing software that comes to mind is Microsoft Word. Indeed, this text editor is definitely one of a kind and … Continue reading →
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    Opening and editing text documents is a daily task for the majority of computer users. Without doubt, the first word processing software that comes to mind is Microsoft Word. Indeed, this text editor is definitely one of a kind and … Continue reading →
Alexandra IcecreamApps

Google Search Alternatives - Icecream Tech Digest - 1 views

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    When it comes to searching for something online, the first website we turn to is Google. This king of the search engines has become so major that plenty of people say "Google it" instead of "Look this up online." However, … Continue reading →
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    When it comes to searching for something online, the first website we turn to is Google. This king of the search engines has become so major that plenty of people say "Google it" instead of "Look this up online." However, … Continue reading →
Gonzalo San Gil, PhD.

10 alternative social networks for business professionals | ITworld - 1 views

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    [LinkedIn maybe No. 1 when it comes to professional social networking, but your quest to connect doesn't need to stop there. Here's a look at 10 social networks for professionals that offer a variety of features such as Facebook integration, career advice, resume critiques and more.]
Gary Edwards

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

  • The German software-as-a-service firm Open-Xchange, which provides apps that telcos and other service providers can bundle with their connectivity or hosting products, is adding a cloud-based office productivity toolset called OX Documents to its OX App Suite lineup. Open-Xchange has around 70 million users through its contracts with roughly 80 providers such as 1&1 Internet and Strato. Its OX App Suite takes the form of a virtual desktop of sorts, that lets users centralize their email and file storage accounts and view all sorts of documents through a unified portal. However, as of an early April release it will also include OX Text, a non-destructive, collaborative document editor that rivals Google Docs, and that has an interesting heritage of its own.
  • The team that created the HTML5- and JavaScript-based OX Text includes some of the core developers behind OpenOffice, the free alternative to Microsoft Office that passed from Sun Microsystems to Oracle before morphing into LibreOffice. The German developers we’re talking about hived off the project before LibreOffice happened, and ended up getting hired by Open-Xchange. “To them it was a once in a lifetime event, because we allowed them to start from scratch,” Open-Xchange CEO Rafael Laguna told me. “We said we wanted a fresh office productivity suite that runs inside the browser. In terms of the architecture and principles for the product, we wanted to make it fully round-trip capable, meaning whatever file format we run into needs to be retained.”
  • This is an extremely handy formatting and version control feature. Changes made to a document in OX Text get pushed through to Open-Xchange’s backend, where a changelog is maintained. “Power” Word features such as Smart Art or Charts, which are not necessarily supported by other productivity suites, are replaced with placeholders during editing and are there, as before, when the edited document is eventually downloaded. As the OX Text blurb says, “OX Text never damages your valuable work even if it does not understand it”.
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  • “[This avoids] the big disadvantage of anything other than Microsoft Office,” Laguna said. “If you use OpenOffice with a .docx file, the whole document is converted, creating artefacts, then you convert it back. That’s one of the major reasons not everyone is using OpenOffice, and the same is true for Google Apps.” OX Text will be available as an extension to OX App Suite, which also includes calendaring and other productivity tools. However, it will also come out as a standalone product under both commercial licenses – effectively support-based subscriptions for Open-Xchange’s service provider customers – and open-source licenses, namely the GNU General Public License 2 and Creative Commons Attribution-NonCommercial-ShareAlike 2.5 License, which will allow free personal, non-commercial use. You can find a demo of App Suite, including the OX Text functionality, here, and there’s a video too:
Gonzalo San Gil, PhD.

Four alternatives to Android, iOS, and Windows Phone | TechHive - 0 views

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    "Today Android and iOS dominate the smartphone market, combining to provide the operating systems for more than 95 percent of smartphones. Still, not everyone is a fan of the Apple-Google mobile universe. If you're wary of Android's security shortcomings, tired of iOS's overly aggressive auto-correct, or interested in tapping out of the Apple vs. Google mobile war, however, you'll be pleased to know that a number of new open-source mobile OSs are slated to debut in the next year or so. From Canonical's Ubuntu to Firefox to Samsung, several big-name corporations and organizations will release their own open-source smartphone platforms this year. So grab your Tux the Linux Penguin gear and read on. "
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
Alexandra IcecreamApps

Best Skype Alternatives for Windows - Icecream Tech Digest - 0 views

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    Skype is one of the most popular and famous messengers in the world. Through the years of its existence, this IM has gone through drastic changes. The interface, the owning company, the functions - all these things have been evolving … Continue reading →
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    Skype is one of the most popular and famous messengers in the world. Through the years of its existence, this IM has gone through drastic changes. The interface, the owning company, the functions - all these things have been evolving … Continue reading →
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
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    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
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