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.
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The Connection Between The Copyright Industry And The NSA | TorrentFreak - 1 views
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" Rick Falkvinge on May 18, 2014 C: 21 Opinion There is a direct connection between copyright monopoly enforcement and mass surveillance, and between mass surveillance and lack of free speech. If you want to keep free speech, the copyright monopoly must be reduced sharply." -
" Rick Falkvinge on May 18, 2014 C: 21 Opinion There is a direct connection between copyright monopoly enforcement and mass surveillance, and between mass surveillance and lack of free speech. If you want to keep free speech, the copyright monopoly must be reduced sharply."
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XML Production Workflows? Start with the Web and XHTML - 0 views
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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.
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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.
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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.
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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]
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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.
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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.
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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.
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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.
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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).
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Why re-invent a general-purpose prose representation when XHTML already does the job?
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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.
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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.
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Putting the Pieces Together: A Prototype
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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.
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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?
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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.
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While this sort of works, it isn’t elegant, and it completely ignores the considerable advantages of Web-based content management.
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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]
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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).
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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.
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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.
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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.
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We would take clean XHTML content, transform it to IDML-marked content, and merge that with nicely designed templates in InDesign.
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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.
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Tracing the steps To begin with, we worked backwards, moving the book content back to clean XHTML.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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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Most Top Films Are Not Available on Netflix, Research Finds | TorrentFreak - 0 views
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most top films not Netflis available the magnificent entertainment media industry strategy culture neds free file-sharing
shared by Gonzalo San Gil, PhD. on 27 Sep 14
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[ Ernesto on September 26, 2014 C: 0 [Breaking A new study published by research firm KPMG reveals that only 16% of the most popular and critically acclaimed films are available via Netflix and other on-demand subscription services. ] [# ! ...The '#Magnificent' #Entertainment #Industry #Strategy: # ! A new envelopment for '#Their' #censorship. # ! Wanna #Thrive? #monetize (fairly and proportionally) #Free # ! #FileSharing (through ISPs, non-invasive advertising and, of # ! course, a little help from #governments, that already collect a lot # ! of Aficionados/consumers'/taxpayers'/citizens' #Money... )]
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[ Ernesto on September 26, 2014 C: 0 [Breaking A new study published by research firm KPMG reveals that only 16% of the most popular and critically acclaimed films are available via Netflix and other on-demand subscription services. ]
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Copyright Industry Publishes Data-Free Report Claiming Pirate Sites Will Damage Compute... - 1 views
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copyright industry data-free report pirate sites will damage computers
shared by Gonzalo San Gil, PhD. on 08 May 14
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"from the and-its-'fix'-only-makes-things-worse dept When incumbents whose legislative future depends on the portrayal of piracy as the destroyer of worlds commission a report on infringement, you can be sure it will be light on info and heavy on implication. Cold, hard facts generally aren't as conducive to swaying political opinion as scare tactics are. So, instead of verifiable data, the public receives this sort of thing instead. "
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Pirate Bay Founder Peter Sunde Released From Prison | TorrentFreak - 1 views
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The Pirate Bay Peter Sunde released from prrison what justice imprisons innovators innovation culture sharing just matter control politics
shared by Gonzalo San Gil, PhD. on 10 Nov 14
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" Ernesto on November 10, 2014 C: 7 Breaking Former Pirate Bay spokesperson Peter Sunde is a free man again. After more than five months he was released from prison this morning. Peter is expected to take some time off to spend with family and loved ones before he continues working on making the Internet a better place." [# ! #Good #News... # ! ... but, oh, what a kind of '#Justice' # ! #imprisons #innovators...? [# ! why industry has not even thought on '#monetize' #filesharing...? # ! #clue: http://insights.wired.com/profiles/blogs/monetization-alternatives-the-cure-for-online-piracy] # ! It's Just a #matter of #control.]
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" Ernesto on November 10, 2014 C: 7 Breaking Former Pirate Bay spokesperson Peter Sunde is a free man again. After more than five months he was released from prison this morning. Peter is expected to take some time off to spend with family and loved ones before he continues working on making the Internet a better place." [# ! #Good #News... # ! ... but, oh, what a kind of '#Justice' # ! #imprisons #innovators...? [# ! why industry has not even thought on '#monetize' #filesharing...? # ! #clue: http://insights.wired.com/profiles/blogs/monetization-alternatives-the-cure-for-online-piracy] # ! It's Just a #matter of #control.]
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Top 10 Open Source Developments of 2015 | Business | LinuxInsider - 0 views
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"Open source is driving an ever-expanding market. The notion of community-driven development is a growing disruption to proprietary software controlled by commercial vendors, and the free open source software concept has become a major disruption in industry and technology."
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"Open source is driving an ever-expanding market. The notion of community-driven development is a growing disruption to proprietary software controlled by commercial vendors, and the free open source software concept has become a major disruption in industry and technology."
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YouTube launch royalty-free audio library - Music Industry - The Music Network - 0 views
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youtube launch royalty-free audio library music
shared by Gonzalo San Gil, PhD. on 27 Sep 13
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"27 September 2013 by Nastassia Baroni Sick of uploading that awesome video of your living room twerking only to see is indiscriminately taken down before the likes start rolling in? YouTube has a solution. The company today announced a new royalty-free audio library that allows filmmakers to select and download tracks without risking copyright infringement."
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Killing Spotify's Free Version Will Boost Piracy | TorrentFreak [# ! Note] - 0 views
torrentfreak.com/rsion-will-boost-piracy-150510
killing free freedom access music Spotify will boost piracy industry does not want competitive alternative keep abuses thought culture control
shared by Gonzalo San Gil, PhD. on 10 May 15
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# ! The Truth is That Industry DOESN'T WANT any competitive, affordable and convenient online music service, as '#They' want to keep on manipulating market and, this, way, try to control the #FreeThinking' that a wide supply of music contents provides... # ! And, of course, preserve its de facto monopoly in the (music related) market panorama...
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[ Ernesto on May 10, 2015 C: 0 Opinion Spotify is generally hailed as a piracy killer, with music file-sharing traffic dropping in virtually every country where the service launches. However, much of this effect may be lost if recent calls to end Spotify's free tier are honored. ...]
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Declaration of Internet Freedom - 0 views
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"Preamble We believe that a free and open Internet can bring about a better world. To keep the Internet free and open, we call on communities, industries and countries to recognize these principles. We believe that they will help to bring about more creativity, more innovation and more open societies."
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Runtime wars (1): Does Apple have an answer to Flash, Silverlight and JavaFX?... - 0 views
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Adobe’s got Flash, Microsoft Silverlight and Sun JavaFX. What does Apple have in this multimedia runtime war of information and entertainment delivery? On the surface, nothing. Some might argue that QuickTime is already the answer; Flash and Silverlight are finally catching up. Further, if Apple can convince Google’s YouTube to re-encode their video inventory in QuickTime’s primary codec H.264/AVC and if the new Flash player will also feature the industry standard H.264, why bother with anything else? Because more than just video is at stake here. Surely, both Silverlight and the latest Flash offer high-resolution video, but they also deliver (rich media) applications.
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This new breed of network-aware platforms are capable of interacting with remote application servers and databases, parsing and emitting XML, crunching client-side scripts, rendering complex multimedia layouts, running animations, displaying vector graphics and overlaid videos, using sophisticated interface controls and pretty much anything desktop applications are able to do.
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shared by Gonzalo San Gil, PhD. on 18 Jun 16
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Canonical's and Red Hat's Shameful War Against One Another… and Against the A... - 0 views
techrights.org/...canonical-and-red-hat
Canonical Ubuntu vs Red Hat Fedora RHEL shame war against each other who's behind seeding conflict guess proprietary else whole open source free software lose
shared by Gonzalo San Gil, PhD. on 18 Jun 16
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# ! Guess who (& why) can be behind... # ! feeding a warped conflict in the core of # ! the #FreeSotware environment... [# ! Note: Look how 'some' treat their ''friends'... http://fossbytes.com/microsoft-buys-canonical-kills-ubuntu-linux-forever/ # ! and guess how they can behave with their rivals... # ! ...and what all this conflict represents for the Digital Community, as a whole...]
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"Summary: In an effort to trip each other up and in order to become the 'industry standard', Canonical and Red Hat hurt each other and alienate the media (what's left of it)"
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"Summary: In an effort to trip each other up and in order to become the 'industry standard', Canonical and Red Hat hurt each other and alienate the media (what's left of it)"
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Tell FCC: Don't Back Down On Nation-Wide Free WiFi! - 2 views
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The Federal Communications Commission's plan to create free public WiFi networks across the nation is rallying the open internet troops -- and seriously rattling the $178 billion wireless industry. When free WiFi first appeared, it generated an explosion of innovation that helped level the playing field for the underprivileged and change the face of modern technology.But a further expansion of free WiFi would also allow us to make calls or surf the Internet without paying a cell carrier for the privilege -- which is why companies like AT&T, T-Mobile and Verizon Wireless are doing their best to take it down.
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Facts are facts: by breaking the wireless provider monopoly on wireless access, we have a chance to expand Internet use to the poor, bolster innovation and help create a more vibrant online community. Help us take WiFi from carrier-centric to user-centric: Write the FCC to show your support now!MESSAGE FOR FCC CHAIRMAN JULIUS GENACHOWSKI: We stand with your quest to provide nationwide free public WiFi over the next several years, and urge you not to back down when facing threats to innovation from carriers like Verizon, T-Mobile and AT&T.
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shared by Gonzalo San Gil, PhD. on 01 Aug 16
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Sony Sued For Not Protecting Leaked Movie From Pirates - TorrentFreak [# ! Note] - 0 views
torrentfreak.com/aked-movie-from-pirates-160729
sony sued leaked movie industry Hollywood Hollywood vs. Silicon Valley sharing so-called piracy is free of charge free promotion promoting diffusion sales anti-piracy propaganda censorship
shared by Gonzalo San Gil, PhD. on 01 Aug 16
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# ! Hollywood knows that '#Piracy' is #Promotion -> more #sales. # ! #Antipiracy #pantomime is just a #way to #manipulate #laws... and the #market (of #ideas) itself
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" Andy on July 29, 2016 C: 39 News In 2014, Sony was subjected to a massive cyberattack which resulted in the leak of huge quantities of data. The trove contained several movies, all of which appeared online for anyone to download for free. Now the owner of one of the titles is suing Sony, claiming that company failed in its obligation to protect the movie from Internet pirates."
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" Andy on July 29, 2016 C: 39 News In 2014, Sony was subjected to a massive cyberattack which resulted in the leak of huge quantities of data. The trove contained several movies, all of which appeared online for anyone to download for free. Now the owner of one of the titles is suing Sony, claiming that company failed in its obligation to protect the movie from Internet pirates."
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shared by Paul Merrell on 19 Mar 15
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What's Scarier: Terrorism, or Governments Blocking Websites in its Name? - The Intercept - 0 views
firstlook.org/...terally-blocking-websites-name
censorship-crimes web-site-blocking terrorism™ civil liberties discrimination War-on-Muslims
shared by Paul Merrell on 19 Mar 15
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Forcibly taking down websites deemed to be supportive of terrorism, or criminalizing speech deemed to “advocate” terrorism, is a major trend in both Europe and the West generally. Last month in Brussels, the European Union’s counter-terrorism coordinator issued a memo proclaiming that “Europe is facing an unprecedented, diverse and serious terrorist threat,” and argued that increased state control over the Internet is crucial to combating it. The memo noted that “the EU and its Member States have developed several initiatives related to countering radicalisation and terrorism on the Internet,” yet argued that more must be done. It argued that the focus should be on “working with the main players in the Internet industry [a]s the best way to limit the circulation of terrorist material online.” It specifically hailed the tactics of the U.K. Counter-Terrorism Internet Referral Unit (CTIRU), which has succeeded in causing the removal of large amounts of material it deems “extremist”:
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In addition to recommending the dissemination of “counter-narratives” by governments, the memo also urged EU member states to “examine the legal and technical possibilities to remove illegal content.” Exploiting terrorism fears to control speech has been a common practice in the West since 9/11, but it is becoming increasingly popular even in countries that have experienced exceedingly few attacks. A new extremist bill advocated by the right-wing Harper government in Canada (also supported by Liberal Party leader Justin Trudeau even as he recognizes its dangers) would create new crimes for “advocating terrorism”; specifically: “every person who, by communicating statements, knowingly advocates or promotes the commission of terrorism offences in general” would be a guilty and can be sent to prison for five years for each offense. In justifying the new proposal, the Canadian government admits that “under the current criminal law, it is [already] a crime to counsel or actively encourage others to commit a specific terrorism offence.” This new proposal is about criminalizing ideas and opinions. In the government’s words, it “prohibits the intentional advocacy or promotion of terrorism, knowing or reckless as to whether it would result in terrorism.”
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If someone argues that continuous Western violence and interference in the Muslim world for decades justifies violence being returned to the West, or even advocates that governments arm various insurgents considered by some to be “terrorists,” such speech could easily be viewed as constituting a crime. To calm concerns, Canadian authorities point out that “the proposed new offence is similar to one recently enacted by Australia, that prohibits advocating a terrorist act or the commission of a terrorism offence-all while being reckless as to whether another person will engage in this kind of activity.” Indeed, Australia enacted a new law late last year that indisputably targets political speech and ideas, as well as criminalizing journalism considered threatening by the government. Punishing people for their speech deemed extremist or dangerous has been a vibrant practice in both the U.K. and U.S. for some time now, as I detailed (coincidentally) just a couple days before free speech marches broke out in the West after the Charlie Hebdo attacks. Those criminalization-of-speech attacks overwhelmingly target Muslims, and have resulted in the punishment of such classic free speech activities as posting anti-war commentary on Facebook, tweeting links to “extremist” videos, translating and posting “radicalizing” videos to the Internet, writing scholarly articles in defense of Palestinian groups and expressing harsh criticism of Israel, and even including a Hezbollah channel in a cable package.
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Beyond the technical issues, trying to legislate ideas out of existence is a fool’s game: those sufficiently determined will always find ways to make themselves heard. Indeed, as U.S. pop star Barbra Streisand famously learned, attempts to suppress ideas usually result in the greatest publicity possible for their advocates and/or elevate them by turning fringe ideas into martyrs for free speech (I have zero doubt that all five of the targeted sites enjoyed among their highest traffic dates ever today as a result of the French targeting). But the comical futility of these efforts is exceeded by their profound dangers. Who wants governments to be able to unilaterally block websites? Isn’t the exercise of this website-blocking power what has long been cited as reasons we should regard the Bad Countries — such as China and Iran — as tyrannies (which also usually cite “counterterrorism” to justify their censorship efforts)?
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s those and countless other examples prove, the concepts of “extremism” and “radicalizing” (like “terrorism” itself) are incredibly vague and elastic, and in the hands of those who wield power, almost always expand far beyond what you think it should mean (plotting to blow up innocent people) to mean: anyone who disseminates ideas that are threatening to the exercise of our power. That’s why powers justified in the name of combating “radicalism” or “extremism” are invariably — not often or usually, but invariably — applied to activists, dissidents, protesters and those who challenge prevailing orthodoxies and power centers. My arguments for distrusting governments to exercise powers of censorship are set forth here (in the context of a prior attempt by a different French minister to control the content of Twitter). In sum, far more damage has been inflicted historically by efforts to censor and criminalize political ideas than by the kind of “terrorism” these governments are invoking to justify these censorship powers. And whatever else may be true, few things are more inimical to, or threatening of, Internet freedom than allowing functionaries inside governments to unilaterally block websites from functioning on the ground that the ideas those sites advocate are objectionable or “dangerous.” That’s every bit as true when the censors are in Paris, London, and Ottawa, and Washington as when they are in Tehran, Moscow or Beijing.
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EUROPA - PRESS RELEASES - Press release - Lack of choice driving demand for film downloads - 0 views
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"Lack of choice driving demand for film downloads Nearly 70% of Europeans download or stream films for free, whether legally or illegally, according to a new European Commission study on audience behaviour. It also finds that 40% of smartphone owners and more than 60% of tablet owners watch films on their devices. The study finds that this is not surprising because, while the public takes a lot of interest in films as a whole, the nearest cinema is often some distance from them and the choice on screen is frequently rather limited. It suggests that the European film industry can increase revenues by exploiting different types of profit-making online platforms to increase the availability of films and reach new audiences. The audience behaviour study is based on research, analysis and interviews with audiences in 10 Member States - the UK, France, Italy, Spain, Germany, Poland, Croatia, Romania, Lithuania and Denmark. Nearly 5 000 people aged from 4-50 were asked about their film habits and preferences."
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shared by Gonzalo San Gil, PhD. on 24 Feb 14
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Comcast's deal with Netflix makes network neutrality obsolete - 0 views
www.washingtonpost.com/...es-network-neutrality-obsolete
neutrality netneutrality network Internet howto works
shared by Gonzalo San Gil, PhD. on 24 Feb 14
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"For the past two decades, the Internet has operated as an unregulated, competitive free market. Given the tendency of networked industries to lapse into monopoly-think of AT&T's 70-year hold over telephone service, for example-that's a minor miracle. But recent developments are putting the Internet's decentralized architecture in danger."
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shared by Gonzalo San Gil, PhD. on 15 Sep 11
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Urge the EU Parliament to Stand For Net Neutrality | La Quadrature du Net - 0 views
www.laquadrature.net/...nt-to-stand-for-net-neutrality
EU parliament Net Neutrality stand make your voice be heard
shared by Gonzalo San Gil, PhD. on 15 Sep 11
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[The EU Parliament just started discussing a resolution and oral question to the Commission on Net Neutrality. Make your voice heard to ensure that your EU representatives make a strong commitment for a free and open Internet against pressure from the telecoms industry. ...]
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shared by Paul Merrell on 28 Oct 15
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Free At Last: New DMCA Rules Might Make the Web a Better Place | nsnbc international - 0 views
nsnbc.me/...ht-make-the-web-a-better-place
DMCA-exemptions auto-software VW-scandal video-games remixers
shared by Paul Merrell on 28 Oct 15
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David Mao, the Librarian of Congress, has issued new rules pertaining to exemptions to the Digital Millennium Copyright Act (DMCA) after a 3 year battle that was expedited in the wake of the Volkswagen scandal.
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Opposition to this new decision is coming from the Environmental Protection Agency (EPA) and the auto industry because the DMCA prohibits “circumventing encryption or access controls to copy or modify copyrighted works.” For example, GM “claimed the exemption ‘could introduce safety and security issues as well as facilitate violation of various laws designed specifically to regulate the modern car, including emissions, fuel economy, and vehicle safety regulations’.” The exemption in question is in Section 1201 which forbids the unlocking of software access controls which has given the auto industry the unique ability to “threaten legal action against anyone who needs to get around those restrictions, no matter how legitimate the reason.” Journalist Nick Statt points out that this provision “made it illegal in the past to unlock your smartphone from its carrier or even to share your HBO Go password with a friend. It’s designed to let corporations protect copyrighted material, but it allows them to crackdown on circumventions even when they’re not infringing on those copyrights or trying to access or steal proprietary information.”
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Kit Walsh, staff attorney for the Electronic Frontier Foundation (EFF), explained that the “‘access control’ rule is supposed to protect against unlawful copying. But as we’ve seen in the recent Volkswagen scandal—where VW was caught manipulating smog tests—it can be used instead to hide wrongdoing hidden in computer code.” Walsh continued: “We are pleased that analysts will now be able to examine the software in the cars we drive without facing legal threats from car manufacturers, and that the Librarian has acted to promote competition in the vehicle aftermarket and protect the long tradition of vehicle owners tinkering with their cars and tractors. The year-long delay in implementing the exemptions, though, is disappointing and unjustified. The VW smog tests and a long run of security vulnerabilities have shown researchers and drivers need the exemptions now.” As part of the new changes, gamers can “modify an old video game so it doesn’t perform a check with an authentication server that has since been shut down” and after the publisher cuts of support for the video game.
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Another positive from the change is that smartphone users will be able to jailbreak their phone and finally enjoy running operating systems and applications from any source, not just those approved by the manufacturer. And finally, those who remix excerpts from DVDs, Blu – Ray discs or downloading services will be allowed to mix the material into theirs without violating the DMCA.
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shared by Paul Merrell on 19 Feb 17
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Civil Rights Groups, Funded by Telecoms, Back Donald Trump's Plan to Kill Net Neutrality - 0 views
theintercept.com/...naacp-trump-netneutrality
net-neutrality civil-rights-groups Trump-administration
shared by Paul Merrell on 19 Feb 17
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Leading civil rights groups who for many years have been heavily bankrolled by the telecom industry are signaling their support for Donald Trump’s promised rollback of the Obama administration’s net neutrality rules, which prevent internet service providers from prioritizing some content providers over others. The Obama administration’s Federal Communications Commission established net neutrality by reclassifying high-speed internet as a regulated phone-like telecommunications service, as opposed to a mostly unregulated information service. The re-classification was cheered by advocates for a free and open internet. But now Trump’s new FCC Chairman Ajit Pai, a former Verizon attorney, is pushing to repeal the net neutrality reform by rolling back that re-classification — and he’s getting help not only from a legion of telecom lobbyists, but from civil rights groups. In a little-noticed joint letter released last week, the NAACP, Asian Americans Advancing Justice, OCA (formerly known as the Organization for Chinese Americans), the National Urban League, and other civil rights organizations sharply criticized the “jurisdictional and classification problems that plagued the last FCC” — a reference to the legal mechanism used by the Obama administration to accomplish net neutrality. Instead of classifying broadband as a public utility, the letter states, open internet rules should be written by statute. What does that mean? It means the Republican-led Congress should take control of the process — the precise approach that is favored by industry.