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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
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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
Gonzalo San Gil, PhD.

How to Use the Free YouTube Video Editor - 1 views

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    "Believe it or not, the YouTube video editor has been around since September 2011. When it was first released it was somewhat limited, but over the years it has grown to become a versatile, feature packed video editor. It works great on Macs, PCs and Chromebooks, but is best avoided if you are working on a mobile device like an iPad or Android phone."
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    "Believe it or not, the YouTube video editor has been around since September 2011. When it was first released it was somewhat limited, but over the years it has grown to become a versatile, feature packed video editor. It works great on Macs, PCs and Chromebooks, but is best avoided if you are working on a mobile device like an iPad or Android phone."
Paul Merrell

Last Call Working Draft -- W3C Authoring Tool Accessibility Guidelines (ATAG) 2.0 - 1 views

  • Examples of authoring tools: ATAG 2.0 applies to a wide variety of web content generating applications, including, but not limited to: web page authoring tools (e.g., WYSIWYG HTML editors) software for directly editing source code (see note below) software for converting to web content technologies (e.g., "Save as HTML" features in office suites) integrated development environments (e.g., for web application development) software that generates web content on the basis of templates, scripts, command-line input or "wizard"-type processes software for rapidly updating portions of web pages (e.g., blogging, wikis, online forums) software for generating/managing entire web sites (e.g., content management systems, courseware tools, content aggregators) email clients that send messages in web content technologies multimedia authoring tools debugging tools for web content software for creating mobile web applications
  • Web-based and non-web-based: ATAG 2.0 applies equally to authoring tools of web content that are web-based, non-web-based or a combination (e.g., a non-web-based markup editor with a web-based help system, a web-based content management system with a non-web-based file uploader client). Real-time publishing: ATAG 2.0 applies to authoring tools with workflows that involve real-time publishing of web content (e.g., some collaborative tools). For these authoring tools, conformance to Part B of ATAG 2.0 may involve some combination of real-time accessibility supports and additional accessibility supports available after the real-time authoring session (e.g., the ability to add captions for audio that was initially published in real-time). For more information, see the Implementing ATAG 2.0 - Appendix E: Real-time content production. Text Editors: ATAG 2.0 is not intended to apply to simple text editors that can be used to edit source content, but that include no support for the production of any particular web content technology. In contrast, ATAG 2.0 can apply to more sophisticated source content editors that support the production of specific web content technologies (e.g., with syntax checking, markup prediction, etc.).
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    Link is the latest version link so page should update when this specification graduates to a W3C recommendation.
Gonzalo San Gil, PhD.

VII FORO DE INDUSTRIAS CULTURALES | ¿Cultura o barbarie? Diez propuestas al b... - 0 views

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    "PROGRAMA PROVISIONAL ¿Cultura o barbarie? Diez propuestas al borde del abismo Jueves, 5 de noviembre de 2015 Museo Nacional Centro de Arte Reina Sofía Mañana 10:30-12:00 h. Mesa institucional Intervienen: José Luis Acosta, presidente de la Sociedad de General de Autores y Editores (SGAE). Basilio Baltasar, director de la Fundación Santillana (área cultural). Fernando Carro, presidente de Bertelsmann España y miembro del Comité ejecutivo. Laura Halpern, directora de la Fundación Jesús Serra Ignacio Polanco, presidente de la Fundación Santillana. Pere Portabella, presidente de la Fundación Alternativas. 12:00-12:30 h. Pausa 12:30-14:00 h. El papel de las políticas y el Estado Modera: Luz Sanchez-Mellado, periodista de El País. Intervienen: Carmen Alborch, ex ministra de cultura y senadora. Juan Cruz, adjunto a la dirección de El País para Cultura y Babelia. Santiago Eraso, director de contenidos de Madrid Destino. Rosina Gómez-Baeza, presidenta de Factoría Cultural, Vivero de Industrias Creativas. Enric Juliana, periodista de La Vanguardia. César Antonio Molina, escritor y director de la Casa del Lector. 14:00-16:00 h. Almuerzo Tarde 16:00-17:30 h. Decálogo: exigencias y urgencias Modera: Joana Bonet, articulista de La Vanguardia. Intervienen: Antonio María Ávila, director ejecutivo de la Federación del Gremio de Editores. Jesús Cimarro, presidente de la Federación Estatal de Asociaciones de Empresas Productoras de Teatro y Danza de España. Ramon Colom, presidente FAPAE (Confederación de Productores Audiovisuales Españoles). Patricia Gabeiras, directora de Legal Music Producciones Vocal en la Junta Directiva de la Asociación de Promotores Musicales. Isidro López-Aparicio, artista plástico y miembro de la UAAV, Unión de Asociaciones de Artistas Visuales. Profesor de Bellas Artes de la Universidad de Granada y del I
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    "PROGRAMA PROVISIONAL ¿Cultura o barbarie? Diez propuestas al borde del abismo Jueves, 5 de noviembre de 2015 Museo Nacional Centro de Arte Reina Sofía Mañana 10:30-12:00 h. Mesa institucional Intervienen: José Luis Acosta, presidente de la Sociedad de General de Autores y Editores (SGAE). Basilio Baltasar, director de la Fundación Santillana (área cultural). Fernando Carro, presidente de Bertelsmann España y miembro del Comité ejecutivo. Laura Halpern, directora de la Fundación Jesús Serra Ignacio Polanco, presidente de la Fundación Santillana. Pere Portabella, presidente de la Fundación Alternativas. 12:00-12:30 h. Pausa 12:30-14:00 h. El papel de las políticas y el Estado Modera: Luz Sanchez-Mellado, periodista de El País. Intervienen: Carmen Alborch, ex ministra de cultura y senadora. Juan Cruz, adjunto a la dirección de El País para Cultura y Babelia. Santiago Eraso, director de contenidos de Madrid Destino. Rosina Gómez-Baeza, presidenta de Factoría Cultural, Vivero de Industrias Creativas. Enric Juliana, periodista de La Vanguardia. César Antonio Molina, escritor y director de la Casa del Lector. 14:00-16:00 h. Almuerzo Tarde 16:00-17:30 h. Decálogo: exigencias y urgencias Modera: Joana Bonet, articulista de La Vanguardia. Intervienen: Antonio María Ávila, director ejecutivo de la Federación del Gremio de Editores. Jesús Cimarro, presidente de la Federación Estatal de Asociaciones de Empresas Productoras de Teatro y Danza de España. Ramon Colom, presidente FAPAE (Confederación de Productores Audiovisuales Españoles). Patricia Gabeiras, directora de Legal Music Producciones Vocal en la Junta Directiva de la Asociación de Promotores Musicales. Isidro López-Aparicio, artista plástico y miembro de la UAAV, Unión de Asociaciones de Artistas Visuales. Profesor de Bellas Artes de la Universidad de Granada y del I
Gonzalo San Gil, PhD.

Lightworks: A Professional Video Editor Available for Ubuntu/Linux Mint/Fedora - NoobsL... - 0 views

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    "Lightworks is a professional video editor which is the fastest, most accessible and focused on Non-Linear Editing (NLE) software, the initial release of Lightworks was in 1989; 26 years ago. It support all resolutions available to public up to 4K as well as video in SD and HD formats"
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    "Lightworks is a professional video editor which is the fastest, most accessible and focused on Non-Linear Editing (NLE) software, the initial release of Lightworks was in 1989; 26 years ago. It support all resolutions available to public up to 4K as well as video in SD and HD formats"
Gonzalo San Gil, PhD.

Etherpad - A Real Time Web Based Online Collaborative Document Editor for Linux - 0 views

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    "Etherpad is a web based free document editor tool which allows a group of users to work jointly on a document in a real time, like a multi player editor which runs on a web browser. Etherpad authors can edit and at the same time see each others edits in real time with a capability to display author's text in their own colours."
Paul Merrell

Ohio's attorney general wants Google to be declared a public utility. - The New York Times - 2 views

  • Ohio’s attorney general, Dave Yost, filed a lawsuit on Tuesday in pursuit of a novel effort to have Google declared a public utility and subject to government regulation.The lawsuit, which was filed in a Delaware County, Ohio court, seeks to use a law that’s over a century old to regulate Google by applying a legal designation historically used for railroads, electricity and the telephone to the search engine.“When you own the railroad or the electric company or the cellphone tower, you have to treat everyone the same and give everybody access,” Mr. Yost, a Republican, said in a statement. He added that Ohio was the first state to bring such a lawsuit against Google.If Google were declared a so-called common carrier like a utility company, it would prevent the company from prioritizing its own products, services and websites in search results.AdvertisementContinue reading the main storyGoogle said it had none of the attributes of a common carrier that usually provide a standardized service for a fee using public assets, such as rights of way.The “lawsuit would make Google Search results worse and make it harder for small businesses to connect directly with customers,” José Castañeda, a Google spokesman, said in a statement. “Ohioans simply don’t want the government to run Google like a gas or electric company. This lawsuit has no basis in fact or law and we’ll defend ourselves against it in court.”Though the Ohio lawsuit is a stretch, there is a long history of government control of certain kinds of companies, said Andrew Schwartzman, a senior fellow at the nonprofit Benton Institute for Broadband & Society. “Think of ‘The Canterbury Tales.’ Travelers needed a place to stay and eat on long road treks, and innkeepers were not allowed to deny them accommodations or rip them off,” he said.
  • After a series of federal lawsuits filed against Google last year, Ohio’s lawsuit is part of a next wave of state actions aimed at regulating and curtailing the power of Big Tech. Also on Tuesday, Colorado’s legislature passed a data privacy law that would allow consumers to opt out of data collection.On Monday, New York’s Senate passed antitrust legislation that would make it easier for plaintiffs to sue dominant platforms for abuse of power. After years of inaction in Congress with tech legislation, states are beginning to fill the regulatory vacuum.Editors’ PicksThe Abandoned Houses of Instagram21 Easy Summer Dinners You’ll Cook (or Throw Together) on Repeat‘King Richard’ Finds Fresh Drama in WatergateAdvertisementContinue reading the main storyAdvertisementContinue reading the main storyOhio was also one of 38 states that filed an antitrust lawsuit in December accusing Google of being a monopoly and using its dominant position in internet search to squeeze out smaller rivals.
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 →
Paul Merrell

About - The Intercept - 1 views

  • About THE INTERCEPT Editors: Glenn Greenwald, Jeremy Scahill, Laura Poitras Senior Editor: Liliana Segura Senior Writers: Peter Maass, Dan Froomkin Reporters: Ryan Gallagher, Ryan Devereaux, Murtaza Hussain Senior Policy Analyst: Marcy Wheeler Legal Analyst: Dan Novack Technology Analyst: Micah Lee ________________________________________________________________________________________ A Publication of FIRST LOOK MEDIA Publisher: Pierre Omidyar Chief Revenue Officer: Michael Rosen Executive Editors: Eric Bates, Bill Gannon Engagement Editor: Andy Carvin
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    The new publishing empire launched by Glenn Greenwald and Pierre Omidyar is now online, The Intercept. 
Gonzalo San Gil, PhD.

Desmontando el canon de AEDE - 0 views

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    "Preguntas y respuestas sobre el canon de AEDE, la reforma de la ley de Propiedad Intelectual que beneficia a los editores. 20-03-2014 - Preguntas y respuestas sobre el canon de AEDE, la reforma de la ley de Propiedad Intelectual que beneficia a los editores. Una versión resumida de este post ha sido publicado en eldiario.es ¿Qué ha pasado? El proyecto de reforma parcial de la Ley de Propiedad Intelectual aprobado por el Consejo de Ministros el viernes 14 de febrero de 2014, ha incluido a última hora una modificación del artículo 32.2, referido a las citas y las reseñas, para incluir la creación de un derecho irrenunciable por "fragmentos no significativos de contenidos" publicados por prestadores de servicios electrónicos de agregación. Los titulares de los derecho podrán percibir una compensación equitativa que se hará efectiva a través de las entidades de gestión."
Gonzalo San Gil, PhD.

La UE dice que las bibliotecas pueden digitalizar sus libros sin permiso de los editore... - 0 views

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    "Tribunal Europeo de Justicia, que acaba de publicar su sentencia: las bibliotecas públicas de los Estados miembros pueden digitalizar todas sus obras sin necesidad de un permiso especial" [# ! Que en pleno Siglo XXI, halla 'gente'* # ! que aún no entienda que el #principal #objetivo # ! de la #PropiedadIntelectual es #Promover la #creación # ! y NO #restringir el #Acceso... NI #enriquecer a tercerxs, # ! es bastante #Triste... (* 'gente' = #editores. Que, además, no 'crean' nada...)
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    "Tribunal Europeo de Justicia, que acaba de publicar su sentencia: las bibliotecas públicas de los Estados miembros pueden digitalizar todas sus obras sin necesidad de un permiso especial"
Gonzalo San Gil, PhD.

Guest Post: Five Reasons Why The Major Labels Didn't Blow It With Napster by @thetrickn... - 1 views

    • Gonzalo San Gil, PhD.
       
      # ! #Industry (#Politics) just don't want to share their business (of culture/thinking/VALUES Manipulation) with third partires...
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    [ay 30, 2015 Editor Charlie Leave a comment Go to comments [Editor Charlie sez: We're pleased to get a chance to repost this must read piece by industry veteran Jim McDermott who brings great insights into the Napster history and the flaws in the narrative that the tech press has so eagerly promoted. You can also read Chris's 2008 interview about Napster with Andrew Orlowski in The Register, The Music Wars from 30,000 Feet.] ...]
Gary Edwards

Mozilla's Bespin project encourages experimentation - Ars Technica, Paul Ryan - 0 views

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    "The Bespin project, which aims to develop a browser-based IDE, has attracted significant attention in the Web development community. Ars looks at some of the buzz around Bespin and the project's innovative use of the HTML canvas element.........." Good stuff here. The Bespin project started off as a JavaScript code editor written in JavaScript, but the really exciting part looks to be the innovative use of the canvas element and the JavaScript API for drawing. There is also the development of using Bespin as a Web page editor using the new canvas text rendering API! One of the advantages Flash has over WebKit is the proliferation of SWF based IDE's. Silverlight will similarly have an excellent collection of IDE's. There are no WebKit - Canvas based IDE's today, but Bespin will perhaps change that. I can also imagine that many of the Flash based IDE's like Swifft tools and my favorite, "SwishMAX", could provide multiple vector graphics; including Canvas! Note that Adobe is scheduled to discontinue all support for SVG this coming March of 2009, moving everything to the proprietary SWF.
Paul Merrell

Digital Web Magazine - HTML5, XHTML2, and the Future of the Web - 0 views

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    The browser-centric view of why HTML5 is better than XHTML2. Notice that the entire discussion does not address the need for interoperable data exchange between different web applications, let alone for their interaction with more traditional desktop or mobile device editors. HTML5 is enormously under-specified for data exchange among anything but web browsers. As only one small example, neither HTML5 nor CSS Selectors have a specified standard element for footnotes and footnote calls, let alone attributes for their numbering style, formatting, and location. And even if CSS Selectors included such elements and attributes, CSS lives in web site page templates, not in the web app editors for site content that use HTML forms. Easy pickings for Microsoft and its proprietary stack that does interoperably integrate the desktop, servers, devices, and the Web.
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Gary Edwards

The must-have iPad office apps, round 9 | Network World - 0 views

  • Google's newly completed Apps suite just can't beat Apple's iWork or Microsoft Office
  • InfoWorld scorecards: The major native office apps In the past year, iPad users gained three major editing suites vying for their adoption: Microsoft Office for iPad and Google Apps for iOS both debuted to compete with Apple's powerful iWork suite. At the app level, both Apple and Microsoft released major updates to their presentation, spreadsheet, and word-processing offerings.
    • Gary Edwards
       
      I hope Diigo can post this!!  The Diigo default for comments is private :(
  • All support the native Office file formats, with iWork and Apps exporting to them as well.There are still a few office suites from smaller providers (scored on the next slide), but for most people, the focus is on these three.
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    "The on-the-go business app toolkit for the iPad Of the tens of thousands of apps available for the iPad, only a relative few are must-have tools for business use. In the last year, the landscape for iPad office apps has changed dramatically, with updates to iWork, the introduction of Microsoft Office, and Google's elimination of the beloved Quickoffice with its own Apps suite. Read on for our picks of the best native office editors, cloud office editors, and native companion productivity tools for the iPad. (Most work on the iPhone, too!)"
Alexandra IcecreamApps

How to Edit a PDF - Online and Offline Solutions - Icecream Tech Digest - 0 views

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    PDF format requires the use of special programs that can open and edit PDF files. Editing PDF files is actually a pretty wide definition of what you can do when altering such a document. The most popular type of edit … Continue reading →
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    PDF format requires the use of special programs that can open and edit PDF files. Editing PDF files is actually a pretty wide definition of what you can do when altering such a document. The most popular type of edit … Continue reading →
Rana Adeel

Top 5 Online Image Editors. - 0 views

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    Now a day's photo editing is becoming more popular among teenagers. I personally use Adobe Photoshop and other graphic software's to add effects and for editing photos like me many others uses different photo editing software's and applications but today I am going to share some online photo editing sites by using these sites you don't need to install any heavy software's or different applications on your PC to edit or add effects on your photos. By using these online photo editing websites you can edit your photos online, you can add cool and amazing effects on your photos, you can do text editing, add frames to your photos, adjust color settings and much more. Now imagine all these things can be done without installing any photo editing software on your PC. So here are the 5 best online photo editing websites, these sites are easy to use and it will save a lot of your time.
Paul Merrell

'Manhunting Timeline' Further Suggests US Pressured Countries to Prosecute WikiLeaks Ed... - 0 views

  • An entry in something the government calls a “Manhunting Timeline” suggests that the United States pressured officials of countries around the world to prosecute WikiLeaks editor-in-chief, Julian Assange, in 2010. The file—marked unclassified, revealed by National Security Agency whistleblower Edward Snowden and published by The Intercept—is dated August 2010. Under the headline, “United States, Australia, Great Britain, Germany, Iceland” – it states: The United States on 10 August urged other nations with forces in Afghanistan, including Australia, United Kingdom and Germany, to consider filing criminal charges against Julian Assange, founder of the rogue WikiLeaks Internet website and responsible for the unauthorized publication of over 70,000 classified documents covering the war in Afghanistan. The documents may have been provided to WikiLeaks by Army Private First Class Bradley Manning. The appeal exemplifies the start of an international effort to focus the legal element of national power upon non-state actor Assange and the human network that supports WikiLeaks. Another document—a top-secret page from an internal wiki—indicates there has been discussion in the NSA with the Threat Operations Center Oversight and Compliance (NOC) and Office of General Counsel (OGC) on the legality of designating WikiLeaks a “malicious foreign actor” and whether this would make it permissible to conduct surveillance on Americans accessing the website. “Can we treat a foreign server who stores or potentially disseminates leaked or stolen data on its server as a ‘malicious foreign actor’ for the purpose of targeting with no defeats?” Examples: WikiLeaks, thepiratebay.org). The NOC/OGC answered, “Let me get back to you.” (The page does not indicate if anyone ever got back to the NSA. And “defeats” essentially means protections.)
  • GCHQ, the NSA’s counterpart in the UK, had a program called “ANTICRISIS GIRL,” which could engage in “targeted website monitoring.” This means data of hundreds of users accessing a website, like WikiLeaks, could be collected. The IP addresses of readers and supporters could be monitored. The agency could even target the publisher if it had a public dropbox or submission system. NSA and GCHQ could also target the foreign “branches” of the hacktivist group, Anonymous. An answer to another question from the wiki entry involves the question, “Is it okay to query against a foreign server known to be malicious even if there is a possibility that US persons could be using it as well? Example: thepiratebay.org.” The NOC/OGC responded, “Okay to go after foreign servers which US people use also (with no defeats). But try to minimize to ‘post’ only for example to filter out non-pertinent information.” WikiLeaks is not an example in this question, however, if it was designated as a “malicious foreign actor,” then the NSA would do queries of American users.
  • Michael Ratner, a lawyer from the Center for Constitutional Rights (CCR) who represents WikiLeaks, said on “Democracy Now!”, this shows he has every reason to fear what would happen if he set foot outside of the embassy. The files show some of the extent to which the US and UK have tried to destroy WikiLeaks. CCR added in a statement, “These NSA documents should make people understand why Julian Assange was granted diplomatic asylum, why he must be given safe passage to Ecuador, and why he must keep himself out of the hands of the United States and apparently other countries as well. These revelations only corroborate the expectation that Julian Assange is on a US target list for prosecution under the archaic “Espionage Act,” for what is nothing more than publishing evidence of government misconduct.” “These documents demonstrate that the political persecution of WikiLeaks is very much alive,”Baltasar Garzón, the Spanish former judge who now represents the group, told The Intercept. “The paradox is that Julian Assange and the WikiLeaks organization are being treated as a threat instead of what they are: a journalist and a media organization that are exercising their fundamental right to receive and impart information in its original form, free from omission and censorship, free from partisan interests, free from economic or political pressure.”
Gonzalo San Gil, PhD.

EU digital single market: Death by compromise - POLITICO (*) - 0 views

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    By Ryan Heath and Zoya Sheftalovich 6/5/15, 5:30 AM CET Updated 6/5/15, 12:07 PM CET The long-awaited, much-ballyhooed Digital Single Market strategy is set to be published at noon Wednesday by the European Commission. Reaction will be quick, loud and vociferous, but look for clues to the answer to one key question: Will this document really change anything? [*The structure of Media supply/demand keeps on being vertical: Users will only access what Big Companies offer. There must be a way -via watermarking, perhaps- to allow people to consume whatever they want, and fairly monetize it later... If not, the contents will be keep restricted to editors will: that is censorship and restrictions in te age of abundance and freedom] "A user's guide to the Commission's latest brainstorm. By Ryan Heath and Zoya Sheftalovich 6/5/15, 5:30 AM CET Updated 6/5/15, 12:07 PM CET"
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    By Ryan Heath and Zoya Sheftalovich 6/5/15, 5:30 AM CET Updated 6/5/15, 12:07 PM CET The long-awaited, much-ballyhooed Digital Single Market strategy is set to be published at noon Wednesday by the European Commission. Reaction will be quick, loud and vociferous, but look for clues to the answer to one key question: Will this document really change anything? [*The structure of Media supply/demand keeps on being vertical: Users will only access what Big Companies offer. There must be a way -via watermarking, perhaps- to allow people to consume whatever they want, and fairly monetize it later... If not, the contents will be keep restricted to editors will: that is censorship and restrictions in te age of abundance and freedom] "A user's guide to the Commission's latest brainstorm. By Ryan Heath and Zoya Sheftalovich 6/5/15, 5:30 AM CET Updated 6/5/15, 12:07 PM CET"
Gonzalo San Gil, PhD.

'Freedom of expression' anti-snooping campaign launched over Ripa changes | Politics | ... - 0 views

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    "Senior editors and lawyers condemned as "wholly inadequate" safeguards put forward in a code of practice by the home secretary, Theresa May, to meet concerns over the police use of surveillance powers linked to the Regulation of Investigatory Powers Act 2000 (Ripa)."
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    "Senior editors and lawyers condemned as "wholly inadequate" safeguards put forward in a code of practice by the home secretary, Theresa May, to meet concerns over the police use of surveillance powers linked to the Regulation of Investigatory Powers Act 2000 (Ripa)."
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