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Piracy ≠ Theft? Movie Industry Workers Speak Out | TorrentFreak - 0 views

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    " Ernesto on December 7, 2014 C: 5 Opinion The mantra often heard from Hollywood's leaders is that pirates are thieves. However, not all people in the industry feel that way. Today we present the views of four regular filmmakers on this controversial topic, what the impact is on the industry, and what can be done in response." [# ! #Some #care... # ! ... about #solutions # ! while others just #complain and #attack... # ! which side are You on?]
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    " Ernesto on December 7, 2014 C: 5 Opinion The mantra often heard from Hollywood's leaders is that pirates are thieves. However, not all people in the industry feel that way. Today we present the views of four regular filmmakers on this controversial topic, what the impact is on the industry, and what can be done in response."
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Music Piracy Not That Bad, Industry Says | TorrentFreak (2009) - 0 views

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    "The Internet has been a blessing for the music industry. Although the RIAA and IFPI frequently complain about piracy, their own research shows that only 10% of all illegal downloads are considered to be a loss in sales. Meanwhile, piracy has shown them how to monetize music online, and turn it into profit. Every year, RIAA's global partner IFPI publishes a digital music report, which can be best described as a one sided view of the state of digital music consumption. For several years in a row the report has shown that the sales figures of digital music have gone up, but still, the industry continues to blame piracy for a loss in overall revenue. One of the key statistics that is hyped every year, is the piracy ratio of downloaded music. Just as last year, IFPI estimates that 95% of all downloads are illegal, without giving a proper source for this figure. Interestingly, those who take a closer look at the full report (pdf), will see that only 10% of the claimed illegal downloads are seen as a loss in sales."
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Internet Pirates Always a Step Ahead , Aussies Say | TorrentFreak - 0 views

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    " Andy on November 12, 2014 C: 16 Breaking Almost three-quarters of Australians believe that using technical measures to end Internet piracy are doomed to fail and will only lead to higher ISP bills for consumers. Those are just two of the findings of a new survey carried out by the Communications Alliance, the industry body for the Australian telecoms industry." [# ! ...and #ban has #never #worked... # ! #stop #repression, # ! #start #dialogue... # ! with everyb@dy.]
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    " Andy on November 12, 2014 C: 16 Breaking Almost three-quarters of Australians believe that using technical measures to end Internet piracy are doomed to fail and will only lead to higher ISP bills for consumers. Those are just two of the findings of a new survey carried out by the Communications Alliance, the industry body for the Australian telecoms industry."
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Steve Albini Takes On 'Parasitic' Record Labels And Copyright's 'Outdated' Illusion Of ... - 0 views

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    "from the the-future's-here-if-you-want-it dept Musician and producer Steve Albini has never been a fan of the recording industry. He posted the definitive essay on how labels screw artists over 20 years ago, and it's just as relevant today as it was then. The internet (read: file sharing) has been public enemy #1 for the recording industry (and now the motion picture industry), despite offering a host of benefits to artists and labels. "
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Box extends its enterprise playbook, but users are still at the center | CITEworld - 0 views

  • The 47,000 developers making almost two billion API calls to the Box platform per month are a good start, Levie says, but Box needs to go further and do more to customize its platform to help push this user-centric, everything-everywhere-always model at larger and larger enterprises. 
  • Box for Industries is comprised of three parts: A Box-tailored core service offering, a selection of partner apps, and the implementation services to combine the two of those into something that ideally can be used by any enterprise in any vertical. 
  • Box is announcing solutions for three specific industries: Retail, healthcare, and media/entertainment. For retail, that includes vendor collaboration (helping vendors work with manufacturers and distributors), digital asset management, and retail store enablement.
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  • Ted Blosser, senior vice president of Box Platform, also took the stage to show off how managing digital assets benefit from a just-announced metadata template capability that lets you pre-define custom fields so a store's back-office can flag, say, a new jacket as "blue" or "red." Those metadata tags can be pushed to a custom app running on a retail associate's iPad, so you can sort by color, line, or inventory level. Metadata plus Box Workflows equals a powerful content platform for retail that keeps people in sync with their content across geographies and devices, or so the company is hoping. 
  • It's the same collaboration model that cloud storage vendors have been pushing, but customized for very specific verticals, which is exactly the sales pitch that Box wants you to come away with. And developers must be cheering -- Box is going to help them sell their apps to previously inaccessible markets. 
  • More on the standard enterprise side, the so-named Box + Office 365 (previewed a few months back) currently only supports the Windows desktop versions of the productivity suite, but Levie promises web and Mac integrations are on the way. It's pretty basic, but potentially handy for the enterprises that Box supports.
  • The crux of the Office 365 announcement is that people expect that their data will follow them from device to device and from app to app. If people want their Box files and storage in Jive, Box needs to support Jive. And if enterprises are using Microsoft Office 365 to work with their documents -- and they are -- then Box needs to support that too. It's easier than it used to be, Levie says, thanks to Satya Nadella's push for a more open Microsoft. 
  • "We are quite confident that this is the kind of future they're building towards," Levie says -- but just in case, he urged BoxWorks attendees to tweet at Nadella and encourage him to help Box speed development along. 
  • Box SVP of Enterprise Annie Pearl came on stage to discuss how Box Workflow can be used to improve the ways people work with their content in the real world of business. It's worth noting that Box had a workflow tool previously, but it was relatively primitive and seems to have only existed to tick the box -- it didn't really go beyond assigning tasks and soliciting approvals.
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    This will be very interesting. Looks like Box is betting their future on the success of integrating Microsoft Office 365 into the Box Productivity Cloud Service. Which competes directly with the Microsoft Office 365 - OneDrive Cloud Productivity Platform. Honestly, I don't see how this can ever work out for Box. Microsoft has them ripe for the plucking. And they have pulled it off on the eve of Box's expected IPO. "Box CEO Aaron Levie may not be able to talk about the cloud storage and collaboration company's forthcoming IPO, but he still took the stage at the company's biggest BoxWorks conference yet, with 5,000 attendees. Featured Resource Presented by Citrix Systems 10 essential elements for a secure enterprise mobility strategy Best practices for protecting sensitive business information while making people productive from LEARN MORE Levie discussed the future of the business and make some announcements -- including the beta of a Box integration with the Windows version of Microsoft Office 365; the introduction of Box Workflow, a tool coming in 2015 for creating repeatable workflows on the platform; and the unveiling of Box for Industries, an initiative to tailor Box solutions for specific industry use-cases. And if that wasn't enough, Box also announced a partnership with service firm Accenture to push the platform in large enterprises. The unifying factor for the announcements made at BoxWorks, Levie said, is that users expect their data to follow them everywhere, at home and at work. That means that Box has to think about enterprise from the user outwards, putting them at the center of the appified universe -- in effect, building an ecosystem of tools that support the things employees already use."
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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
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The Wifi Alliance, Coming Soon to Your Neighborhood: 5G Wireless | Global Research - Ce... - 0 views

  • Just as any new technology claims to offer the most advanced development; that their definition of progress will cure society’s ills or make life easier by eliminating the drudgery of antiquated appliances, the Wifi Alliance  was organized as a worldwide wireless network to connect ‘everyone and everything, everywhere” as it promised “improvements to nearly every aspect of daily life.”    The Alliance, which makes no pretense of potential health or environmental concerns, further proclaimed (and they may be correct) that there are “more wifi devices than people on earth”.   It is that inescapable exposure to ubiquitous wireless technologies wherein lies the problem.   
  • Even prior to the 1997 introduction of commercially available wifi devices which has saturated every industrialized country, EMF wifi hot spots were everywhere.  Today with the addition of cell and cordless phones and towers, broadcast antennas, smart meters and the pervasive computer wifi, both adults and especially vulnerable children are surrounded 24-7 by an inescapable presence with little recognition that all radiation exposure is cumulative.    
  • The National Toxicology Program (NTP), a branch of the US National Institute for Health (NIH), conducted the world’s largest study on radiofrequency radiation used by the US telecommunications industry and found a ‘significantly statistical increase in brain and heart cancers” in animals exposed to EMF (electromagnetic fields).  The NTP study confirmed the connection between mobile and wireless phone use and human brain cancer risks and its conclusions were supported by other epidemiological peer-reviewed studies.  Of special note is that studies citing the biological risk to human health were below accepted international exposure standards.    
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    ""…what this means is that the current safety standards as off by a factor of about 7 million.' Pointing out that a recent FCC Chair was a former lobbyist for the telecom industry, "I know how they've attacked various people.  In the U.S. … the funding for the EMF research [by the Environmental Protection Agency] was cut off starting in 1986 … The U.S. Office of Naval Research had been funding a fair amount of research in this area [in the '70s]. They [also] … stopped funding new grants in 1986 …  And then the NIH a few years later followed the same path …" As if all was not reason enough for concern or even downright panic,  the next generation of wireless technology known as 5G (fifth generation), representing the innocuous sounding Internet of Things, promises a quantum leap in power and exceedingly more damaging health impacts with mandatory exposures.      The immense expansion of radiation emissions from the current wireless EMF frequency band and 5G about to be perpetrated on an unsuspecting American public should be criminal.  Developed by the US military as non lethal perimeter and crowd control, the Active Denial System emits a high density, high frequency wireless radiation comparable to 5G and emits radiation in the neighborhood of 90 GHz.    The current Pre 5G, frequency band emissions used in today's commercial wireless range is from 300 Mhz to 3 GHZ as 5G will become the first wireless system to utilize millimeter waves with frequencies ranging from 30 to 300 GHz. One example of the differential is that a current LANS (local area network system) uses 2.4 GHz.  Hidden behind these numbers is an utterly devastating increase in health effects of immeasurable impacts so stunning as to numb the senses. In 2017, the international Environmental Health Trust recommended an EU moratorium "on the roll-out of the fifth generation, 5G, for telecommunication until potential hazards for human health and the environment hav
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Getting started with Docker | Opensource.com - 0 views

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    "It doesn't matter whether it is pianos or teddy bears, containers provide consistency that manufacturers and transporters can rely on. Just as shipping containers have revolutionized the import/export industry, you've heard that Docker is doing the same in tech."
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    "It doesn't matter whether it is pianos or teddy bears, containers provide consistency that manufacturers and transporters can rely on. Just as shipping containers have revolutionized the import/export industry, you've heard that Docker is doing the same in tech."
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    "It doesn't matter whether it is pianos or teddy bears, containers provide consistency that manufacturers and transporters can rely on. Just as shipping containers have revolutionized the import/export industry, you've heard that Docker is doing the same in tech."
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Punish Music Pirates With Finger Amputations, Artist Says | TorrentFreak - 0 views

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    [ # ! Another abnormal of the Recording Industry... :/ ] "But one musician in Nigeria believes she has a quick and easy solution to stop people illegally pirating her work. Her version of the so-called "graduated response" is controversial, but might just work. "Cutting their fingers off will stop them, by the time you cut off two people's fingers others will stop," popular singer Stella Monye told the News agency of Nigeria."
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    [ # ! Another abnormal of the Recording Industry... :/ ] "But one musician in Nigeria believes she has a quick and easy solution to stop people illegally pirating her work. Her version of the so-called "graduated response" is controversial, but might just work. "Cutting their fingers off will stop them, by the time you cut off two people's fingers others will stop," popular singer Stella Monye told the News agency of Nigeria."
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The Cloud Computing Tsunami | The Numbers from Gartner and Cyrus Golkar - 0 views

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    The cloud computing wave is the most dramatic change I have observed in the computing industry since the wave of the Internet. Cloud computing will significantly change data centers and IT organizations as well as the infrastructure and software vendors' business models. In fact, the cloud computing wave is not just a wave - it is more like a tsunami. What is causing this cloud tsunami? I start with listing 4 of the Gartner top 10 IT predictions for the next three to five years for cloud computing, software as service (SaaS), data center power/cooling efficiency and open source software. All of these predictions indicate that data center efficiency and cost containment will transform the IT industry over the next 5 years. Key Gartner predictions for the data center for the next 5 years:
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Record Biz Wants To Tax Brits For Copying Their Own Music | TorrentFreak - 0 views

    • Gonzalo San Gil, PhD.
       
      # ! For when some exigencies to the recording industry … like diminishing prices and increasing, as much the quality of the works like the respect to the public…?
    • Gonzalo San Gil, PhD.
       
      # ! as if there weren't already enough taxes...
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    [Several music industry organizations in the UK have launched an application for a judicial review after the government passed legislation allowing citizens to copy their own music for personal use. The group says that in order for the system to be fair, the public must pay a new tax. ...] # ! Definitely... # ! ... '#Music #watchmen' -th@se who persecute aficionad@s # ! just for #sharing- are 'watching' for everything BUT The Music... # ! Let's The #sharing #protect -effectively- the #Culture... (# ! perhaps, 'someone' thinks we don't pay enough taxes yet... # ! ...while Billions 'disappear' yearly from the public coffers....)
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    [Several music industry organizations in the UK have launched an application for a judicial review after the government passed legislation allowing citizens to copy their own music for personal use. The group says that in order for the system to be fair, the public must pay a new tax. ...]
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Unprecedented Music Piracy Collapse Fails to Boost Revenues | TorrentFreak - 0 views

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    " Andy on January 26, 2015 C: 94 Breaking A survey carried out by music industry group IFPI has revealed that just 4% of Norwegians under 30 are now using illegal file-sharing platforms to obtain music, down from 70% in 2009. But while that achievement is unprecedented, overall music industry revenues have remained static."
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Pirate Bay Founder Peter Sunde Released From Prison | TorrentFreak - 1 views

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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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Illegal Copying Has Always Created Jobs, Growth, And Prosperity | TorrentFreak - 0 views

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    " Rick Falkvinge on October 19, 2014 C: 33 Opinion Throughout history, those who have copied the most have also always been the most prosperous, and for that reason. Bans on copying, like the copyright and patent monopolies, are just plain industrial protectionism."
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    " Rick Falkvinge on October 19, 2014 C: 33 Opinion Throughout history, those who have copied the most have also always been the most prosperous, and for that reason. Bans on copying, like the copyright and patent monopolies, are just plain industrial protectionism."
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"How To Learn Absolutely Nothing In Fifteen Years," By The Copyright Industry | Torrent... - 0 views

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    " By Rick Falkvinge on December 15, 2014 C: 0 Opinion The Pirate Bay was shut down this week. Whether or not it resurfaces, that event has already triggered a wave of innovation that will spawn exciting new sharing technologies over the coming years, just like when Napster was shut down fifteen years ago" [# ! The #worst… # ! … #ignorance is the #refusal to be #taught.]
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    " By Rick Falkvinge on December 15, 2014 C: 0 Opinion The Pirate Bay was shut down this week. Whether or not it resurfaces, that event has already triggered a wave of innovation that will spawn exciting new sharing technologies over the coming years, just like when Napster was shut down fifteen years ago"
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An Important Kindle request - 0 views

  • A Message from the Amazon Books Team Dear Readers, Just ahead of World War II, there was a radical invention that shook the foundations of book publishing. It was the paperback book. This was a time when movie tickets cost 10 or 20 cents, and books cost $2.50. The new paperback cost 25 cents — it was ten times cheaper. Readers loved the paperback and millions of copies were sold in just the first year. With it being so inexpensive and with so many more people able to afford to buy and read books, you would think the literary establishment of the day would have celebrated the invention of the paperback, yes? Nope. Instead, they dug in and circled the wagons. They believed low cost paperbacks would destroy literary culture and harm the industry (not to mention their own bank accounts). Many bookstores refused to stock them, and the early paperback publishers had to use unconventional methods of distribution — places like newsstands and drugstores. The famous author George Orwell came out publicly and said about the new paperback format, if "publishers had any sense, they would combine against them and suppress them." Yes, George Orwell was suggesting collusion. Well… history doesn't repeat itself, but it does rhyme.
  • Fast forward to today, and it's the e-book's turn to be opposed by the literary establishment. Amazon and Hachette — a big US publisher and part of a $10 billion media conglomerate — are in the middle of a business dispute about e-books. We want lower e-book prices. Hachette does not. Many e-books are being released at $14.99 and even $19.99. That is unjustifiably high for an e-book. With an e-book, there's no printing, no over-printing, no need to forecast, no returns, no lost sales due to out of stock, no warehousing costs, no transportation costs, and there is no secondary market — e-books cannot be resold as used books. E-books can and should be less expensive. Perhaps channeling Orwell's decades old suggestion, Hachette has already been caught illegally colluding with its competitors to raise e-book prices. So far those parties have paid $166 million in penalties and restitution. Colluding with its competitors to raise prices wasn't only illegal, it was also highly disrespectful to Hachette's readers. The fact is many established incumbents in the industry have taken the position that lower e-book prices will "devalue books" and hurt "Arts and Letters." They're wrong. Just as paperbacks did not destroy book culture despite being ten times cheaper, neither will e-books. On the contrary, paperbacks ended up rejuvenating the book industry and making it stronger. The same will happen with e-books.
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Hollywood vs. Silicon Valley (AAPL, CSCO, DIS, INTC, MSFT, TWX, VIA) - 0 views

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    "By Anders Bylund | More Articles January 7, 2011 | Comments (0) The entertainment industry has always been split in two very distinct, extremely incompatible sides: content and technology. Let's call these factions "Hollywood" and "Silicon Valley" for the sake of discussion, because it just sounds a lot nicer."
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    "By Anders Bylund | More Articles January 7, 2011 | Comments (0) The entertainment industry has always been split in two very distinct, extremely incompatible sides: content and technology. Let's call these factions "Hollywood" and "Silicon Valley" for the sake of discussion, because it just sounds a lot nicer."
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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.] ...]
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Swedish Pirates are More Likely to Buy Legal Content - TorrentFreak - 0 views

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    " Andy on November 12, 2015 C: 27 Breaking As the entertainment industries catch up, fewer and fewer Swedish citizens are using unauthorized file-sharing networks. That's according to a new study which has found that just 18% of the population now engages in the hobby. Nevertheless, those that do pirate are dramatically more likely to buy legal content than those who don't."
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NSA contractors use LinkedIn profiles to cash in on national security | Al Jazeera America - 0 views

  • NSA spies need jobs, too. And that is why many covert programs could be hiding in plain sight. Job websites such as LinkedIn and Indeed.com contain hundreds of profiles that reference classified NSA efforts, posted by everyone from career government employees to low-level IT workers who served in Iraq or Afghanistan. They offer a rare glimpse into the intelligence community's projects and how they operate. Now some researchers are using the same kinds of big-data tools employed by the NSA to scrape public LinkedIn profiles for classified programs. But the presence of so much classified information in public view raises serious concerns about security — and about the intelligence industry as a whole. “I’ve spent the past couple of years searching LinkedIn profiles for NSA programs,” said Christopher Soghoian, the principal technologist with the American Civil Liberties Union’s Speech, Privacy and Technology Project.
  • On Aug. 3, The Wall Street Journal published a story about the FBI’s growing use of hacking to monitor suspects, based on information Soghoian provided. The next day, Soghoian spoke at the Defcon hacking conference about how he uncovered the existence of the FBI’s hacking team, known as the Remote Operations Unit (ROU), using the LinkedIn profiles of two employees at James Bimen Associates, with which the FBI contracts for hacking operations. “Had it not been for the sloppy actions of a few contractors updating their LinkedIn profiles, we would have never known about this,” Soghoian said in his Defcon talk. Those two contractors were not the only ones being sloppy.
  • And there are many more. A quick search of Indeed.com using three code names unlikely to return false positives — Dishfire, XKeyscore and Pinwale — turned up 323 résumés. The same search on LinkedIn turned up 48 profiles mentioning Dishfire, 18 mentioning XKeyscore and 74 mentioning Pinwale. Almost all these people appear to work in the intelligence industry. Network-mapping the data Fabio Pietrosanti of the Hermes Center for Transparency and Digital Human Rights noticed all the code names on LinkedIn last December. While sitting with M.C. McGrath at the Chaos Communication Congress in Hamburg, Germany, Pietrosanti began searching the website for classified program names — and getting serious results. McGrath was already developing Transparency Toolkit, a Web application for investigative research, and knew he could improve on Pietrosanti’s off-the-cuff methods.
  • ...2 more annotations...
  • “I was, like, huh, maybe there’s more we can do with this — actually get a list of all these profiles that have these results and use that to analyze the structure of which companies are helping with which programs, which people are helping with which programs, try to figure out in what capacity, and learn more about things that we might not know about,” McGrath said. He set up a computer program called a scraper to search LinkedIn for public profiles that mention known NSA programs, contractors or jargon — such as SIGINT, the agency’s term for “signals intelligence” gleaned from intercepted communications. Once the scraper found the name of an NSA program, it searched nearby for other words in all caps. That allowed McGrath to find the names of unknown programs, too. Once McGrath had the raw data — thousands of profiles in all, with 70 to 80 different program names — he created a network graph that showed the relationships between specific government agencies, contractors and intelligence programs. Of course, the data are limited to what people are posting on their LinkedIn profiles. Still, the network graph gives a sense of which contractors work on several NSA programs, which ones work on just one or two, and even which programs military units in Iraq and Afghanistan are using. And that is just the beginning.
  • Click on the image to view an interactive network illustration of the relationships between specific national security surveillance programs in red, and government organizations or private contractors in blue.
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    What a giggle, public spying on NSA and its contractors using Big Data. The interactive network graph with its sidebar display of relevant data derived from LinkedIn profiles is just too delightful. 
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