Steve Jobs predicted that tablet computers would become so dominant that “PCs would become like trucks” – special-purpose industrial devices. Skeptics replied that tablets were only useful for consumption and not creation and therefore couldn’t replace PCs, to which Jobs said:
We are just scratching the surface on the kinds of apps for the iPad…I think there are lots of kinds of content that can be created on the iPad. When I am going to write that 35-page analyst report, I am going to want my Bluetooth keyboard. That’s 1 percent of the time. The software will get more powerful. I think your vision would have to be pretty short to think these can’t grow into machines that can do more things, like editing video, graphic arts, productivity. You can imagine all of these content creation possibilities on these kind of things. Time takes care of lots of these things.
History supports Jobs’ argument. In the past, new user interfaces led to new categories of creation applications. Back in the 70s and 80s, when computers had text-based interfaces, word processors and spreadsheets were invented. In the 80s and 90s, when computers had graphical interfaces, presentation and image editors proliferated. Jobs was simply predicting that historical patterns would repeat.
Today we are announcing that Andreessen Horowitz is leading a $15M Series A investment in FiftyThree, a company whose goal is to build the essential suite of mobile tools for creativity. You might know FiftyThree as the company behind the iPad app Paper. Paper has been embraced by millions of everyday creators, and has won dozens of awards (including Apple’s App of the Year). It is also one of the top grossing iPad productivity apps ever. But this is only the beginning of FiftyThree’s ambitious plans.
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?
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.
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
he National Security Agency’s ability to spy on vast quantities of Internet traffic passing through the United States has relied on its extraordinary, decades-long partnership with a single company: the telecom giant AT&T.
While it has been long known that American telecommunications companies worked closely with the spy agency, newly disclosed NSA documents show that the relationship with AT&T has been considered unique and especially productive. One document described it as “highly collaborative,” while another lauded the company’s “extreme willingness to help.”
AT&T’s cooperation has involved a broad range of classified activities, according to the documents, which date from 2003 to 2013. AT&T has given the NSA access, through several methods covered under different legal rules, to billions of emails as they have flowed across its domestic networks. It provided technical assistance in carrying out a secret court order permitting the wiretapping of all Internet communications at the United Nations headquarters, a customer of AT&T.
The NSA’s top-secret budget in 2013 for the AT&T partnership was more than twice that of the next-largest such program, according to the documents. The company installed surveillance equipment in at least 17 of its Internet hubs on American soil, far more than its similarly sized competitor, Verizon. And its engineers were the first to try out new surveillance technologies invented by the eavesdropping agency.
One document reminds NSA officials to be polite when visiting AT&T facilities, noting: “This is a partnership, not a contractual relationship.”
The documents, provided by the former agency contractor Edward Snowden, were jointly reviewed by The New York Times and ProPublica.
It is not clear if the programs still operate in the same way today. Since the Snowden revelations set off a global debate over surveillance two years ago, some Silicon Valley technology companies have expressed anger at what they characterize as NSA intrusions and have rolled out new encryption to thwart them. The telecommunications companies have been quieter, though Verizon unsuccessfully challenged a court order for bulk phone records in 2014.
At the same time, the government has been fighting in court to keep the identities of its telecom partners hidden. In a recent case, a group of AT&T customers claimed that the NSA’s tapping of the Internet violated the Fourth Amendment protection against unreasonable searches. This year, a federal judge dismissed key portions of the lawsuit after the Obama administration argued that public discussion of its telecom surveillance efforts would reveal state secrets, damaging national security.
Now, as the Internet revolution unfolds, we are seeing not merely an extension of mind but a unity of mind and machine, two networks coming together as one. Our smaller brains are in a quest to bypass nature's intent and grow larger by proxy. It is not a stretch of the imagination to believe we will one day have all of the world's information embedded in our minds via the Internet.
BCI stands for brain-computer interface, and Jan is one of only a few people on earth using this technology, through two implanted chips attached directly to the neurons in her brain. The first human brain implant was conceived of by John Donoghue, a neuroscientist at Brown University, and implanted in a paralyzed man in 2004.
These dime-sized computer chips use a technology called BrainGate that directly connects the mind to computers and the Internet. Having served as chairman of the BrainGate company, I have personally witnessed just how profound this innovation is.
BrainGate is an invention that allows people to control electrical devices with nothing but their thoughts. The BrainGate chip is implanted in the brain and attached to connectors outside of the skull, which are hooked up to computers that, in Jan Scheuermann's case, are linked to a robotic arm. As a result, Scheuermann can feed herself chocolate by controlling the robotic arm with nothing but her thoughts.
Mind meld
But imagine the ways in which the world will change when any of us, disabled or not, can connect our minds to computers.
Back in 2004, Google's founders told Playboy magazine that one day we'd have direct access to the Internet through brain implants, with "the entirety of the world's information as just one of our thoughts."
A decade later, the road map is taking shape. While it may be years before implants like BrainGate are safe enough to be commonplace—they require brain surgery, after all—there are a host of brainwave sensors in development for use outside of the skull that will be transformational for all of us: caps for measuring driver alertness, headbands for monitoring sleep, helmets for controlling video games. This could lead to wearable EEGs, implantable nanochips or even technology that can listen to our brain signals using the electromagnetic waves that pervade the air we breathe.
Just as human intelligence is expanding in the direction of the Internet, the Internet itself promises to get smarter and smarter. In fact, it could prove to be the basis of the machine intelligence that scientists have been racing toward since the 1950s.
Neurons may be good analogs for transistors and maybe even computer chips, but they're not good building blocks of intelligence. The neural network is fundamental. The BrainGate technology works because the chip attaches not to a single neuron, but to a network of neurons. Reading the signals of a single neuron would tell us very little; it certainly wouldn't allow BrainGate patients to move a robotic arm or a computer cursor. Scientists may never be able to reverse engineer the neuron, but they are increasingly able to interpret the communication of the network.
It is for this reason that the Internet is a better candidate for intelligence than are computers. Computers are perfect calculators composed of perfect transistors; they are like neurons as we once envisioned them. But the Internet has all the quirkiness of the brain: it can work in parallel, it can communicate across broad distances, and it makes mistakes.
Even though the Internet is at an early stage in its evolution, it can leverage the brain that nature has given us. The convergence of computer networks and neural networks is the key to creating real intelligence from artificial machines. It took millions of years for humans to gain intelligence, but with the human mind as a guide, it may only take a century to create Internet intelligence.
Of course once the human brain is interfaced with the internet, then we will be able to do the Vulcan mind-meld thing. And NSA will be busily crawling the Internet for fresh brain dumps to their data center, which then encompasses the entire former state of Utah. Conventional warfare is a thing of the past as the cyberwar commands of great powers battle for control of the billions of minds making up BrainNet, the internet's successor.
Meanwhile, a hackers' Reaper malware trawls BrainNet for bank account numbers and paswords that it forwards for automated harvesting of personal funds.
"Ah, Houston ... we have a problem ..."
"Summary: News about patents from all across the Web, placing special emphasis on software patents and how these affect Free software projects, including Linux and Android"
NEW YORK - The country's five silos of public radio and television are spilling into each other with a joint program that will allow them - and eventually the public itself - to build apps, stations, websites and other media services combining audio, text and video content from every public radio and television outlet in the country.
NPR president and CEO Vivian Schiller appeared at Wired's Disruptive by Design conference Monday morning to announce the new Public Media Platform, a partnership between American Public Media, National Public Radio, Public Broadcasting Services (PBS), Public Radio International and the Public Radio Exchange distribution network.
The Public Media Platform is "a series of platforms that will allow all of the content from all of those entities - whether news or cultural products - to flow freely among the partners and member stations, and ultimately, also to other publishers, other not-for-profits and software developers who will invent wonderful new products that we can't even imagine," said Schiller.
This strikes me at first blush as a potentially disruptive move by public radio and television stations and networks, somewhat akin to the disruptive free and open source software movement. I.e., because the content is free and will apparently be freely available to the public for recycling, we may see the emergence of a viral free meta-network of the kind that content providers stuck behind paywalls can't imitate.
Potentially a significant content commons counter-balancing force to paywall content providers. The devil is in the details and implementation, of course.
The first question was could (or even should) Wolfram Alpha be built using the Semantic Web in some manner, rather than (or as well as) the Mathematica engine it is currently built on. Is anything missed by not building it with Semantic Web's languages (RDF, OWL, Sparql, etc.)?
The answer is that there is no reason that one MUST use the Semantic Web stack to build something like Wolfram Alpha. In fact, in my opinion it would be far too difficult to try to explicitly represent everything Wolfram Alpha knows and can compute using OWL ontologies. It is too wide a range of human knowledge and giant OWL ontologies are just too difficult to build and curate.
However for the internal knowledge representation and reasoning that takes places in the system, it appears Wolfram has found a pragmatic and efficient representation of his own, and I don't think he needs the Semantic Web at that level. It seems to be doing just fine without it.
Wolfram Alpha is built on hand-curated knowledge and expertise. Wolfram and his team have somehow figured out a way to make that practical where all others who have tried this have failed to achieve their goals. The task is gargantuan -- there is just so much diverse knowledge in the world. Representing even a small segment of it formally turns out to be extremely difficult and time-consuming.
It has generally not been considered feasible for any one group to hand-curate all knowledge about every subject. This is why the Semantic Web was invented -- by enabling everyone to curate their own knowledge about their own documents and topics in parallel, in principle at least, more knowledge could be represented and shared in less time by more people -- in an interoperable manner. At least that is the vision of the Semantic Web.
Where Google is a system for FINDING things that we as a civilization collectively publish, Wolfram Alpha is for ANSWERING questions about what we as a civilization collectively know. It's the next step in the distribution of knowledge and intelligence around the world -- a new leap in the intelligence of our collective "Global Brain." And like any big next-step, Wolfram Alpha works in a new way -- it computes answers instead of just looking them up.
A Computational Knowledge Engine for the Web
In a nutshell, Wolfram and his team have built what he calls a "computational knowledge engine" for the Web. OK, so what does that really mean? Basically it means that you can ask it factual questions and it computes answers for you.
It doesn't simply return documents that (might) contain the answers, like Google does, and it isn't just a giant database of knowledge, like the Wikipedia. It doesn't simply parse natural language and then use that to retrieve documents, like Powerset, for example.
Instead, Wolfram Alpha actually computes the answers to a wide range of questions -- like questions that have factual answers such as "What country is Timbuktu in?" or "How many protons are in a hydrogen atom?" or "What is the average rainfall in Seattle this month?," "What is the 300th digit of Pi?," "where is the ISS?" or "When was GOOG worth more than $300?"
Think about that for a minute. It computes the answers. Wolfram Alpha doesn't simply contain huge amounts of manually entered pairs of questions and answers, nor does it search for answers in a database of facts. Instead, it understands and then computes answers to certain kinds of questions.
YouTube has decided it's had enough of Adobe's perenially-p0wned Flash and will therefore now default to delivering video with the HTML5 <video> tag.
A post by the video vault's engineering and development team says the move is now possible, and sensible, because the industry has invented useful things like adaptive bitrates, encryption, new codecs and WebRTC that make the <video> usable work in the real world.
Those additions mean HTML5 is at least as functional – or more so – than Flash, and if YouTube detects you are running Chrome, IE 11, Safari 8 and beta versions of Firefox, it'll now deliver video using <video> and flush Flash.
YouTube's also decided to can what it calls the “'old style' of Flash
YouTube seems not to care a jot that its actions are inimical to Adobe, saying it's just doing what all the cool kids – Netflix, Apple, Microsoft and its competitor Vimeo – have already done.
Which is not to say that Flash is dead: those who don't run the browsers above will still get YouTube delivered by whatever technology works bes tin their environment. And that will often – perhaps too often* – be Flash. ®
Bootnote * Until they get p0wned, that is: Flash is so horridly buggy that Apple has just updated its plugin-blockers to foil versions of the product prior to 16.0.0.296 and 13.0.0.264.
"The Founding Fathers of the United States considered intellectual property so important that they gave it a special place in the Constitution: "To promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries.""
"The Founding Fathers of the United States considered intellectual property so important that they gave it a special place in the Constitution: "To promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries.""
The quote is somewhat misleading because it is out of context. The section is preceded by: "The Congress shall have Power ..." Those are words of discretion, not commandment. Nothing in the Constitution *requires* that patent and copyright systems be established.
"Stable ownership is the gift of social law, and is given late in the progress of society. It would be curious then, if an idea, the fugitive fermentation of an individual brain, could, of natural right, be claimed in exclusive and stable property. If nature has made any one thing less susceptible than all others of exclusive property, it is the action of the thinking power called an idea, which an individual may exclusively possess as long as he keeps it to himself; but the moment it is divulged, it forces itself into the possession of every one, and the receiver cannot dispossess himself of it. Its peculiar character, too, is that no one possesses the less, because every other possesses the whole of it. He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me. That ideas should freely spread from one to another over the globe, for the moral and mutual instruction of man, and improvement of his condition, seems to have been peculiarly and benevolently designed by nature, when she made them, like fire, expansible over all space, without lessening their density in any point, and like the air in which we breathe, move, and have our physical being, incapable of confinement or exclusive appropriation. Inventions then cannot, in nature, be a subject of property. Society may give an exclusive right to the profits arising from them, as an encouragement to men to pursue ideas which may produce utility, *but this may or may not be done, according to the will and convenience of the society, without claim or complaint from any body."* VI Writings of Thomas Jefferson, at 180-181 (Washington ed.).
"Jack Wallen ponders the problem with the ever-lagging acceptance of the Linux desktop and poses a radical solution.
Linux desktop
I have been using Ubuntu Unity for a very long time. In fact, I would say that this is, by far, the longest I've stuck with a single desktop interface. Period. That doesn't mean I don't stop to smell the desktop roses along the Linux path. In fact, I've often considered other desktops as a drop-in replacement for Unity. GNOME and Budgie have vied for my attention of late. Both are solid takes on the desktop that offer a minimalistic, modern look and feel (something I prefer) and help me get my work done with an efficiency other desktops can't match.
What I see across the Linux landscape, however, often takes me by surprise. While Microsoft and Apple continue to push the idea of the user interface forward, a good amount of the Linux community seems bent on holding us in a perpetual state of "90s computing."
Consider Xfce, Mate, and Cinnamon -- three very popular Linux desktop interfaces that work with one very common thread... not changing for the sake of change. Now, this can be considered a very admirable cause when it's put in place to ensure that user experience (UX) is as positive as possible. What this idea does, however, is deny the idea that change can affect an even more efficient and positive UX. When I spin up a distribution that makes use of Xfce, Mate, or Cinnamon, I find the environments work well and get the job done. At the same time, I feel as if the design of the desktops is trapped in the wrong era.
At this point, you're certainly questioning the validity and path of this post. If the desktops work well and help you get the job done, what's wrong?
It's all about perception. Let me offer you up a bit of perspective. The only reason Apple managed to rise from the ashes and become one of the single most powerful forces in technology is because they understood the concept of perception. They re-invented th
That’s not a bug. It’s a function of Apple policy. With some exceptions, the company doesn’t let users pay app makers directly for their apps or digital services. They can only pay Apple, which takes a 30% cut of all revenue and then passes 70% to the developer. (For subscription services, which account for the majority of App Store revenues, that 30% cut drops to 15% after the first year.) To tighten its grip, Apple prohibits the affected apps from even telling users how they can pay their creators directly.In 2018, unwilling to continue paying the “Apple tax,” Netflix followed Spotify and Amazon’s Kindle books app in pulling in-app purchases from its iOS app. Users must now sign up elsewhere, such as on the company’s website, in order for the app to become usable. Of course, these brands are big enough to expect that many users will seek them out anyway.
Smaller app developers, meanwhile, have little choice but to play by Apple’s rules. That’s true even when they’re competing with Apple’s own apps, which pay no such fees and often enjoy deeper access to users’ devices and information.Now, a handful of developers are speaking out about it — and government regulators are beginning to listen. David Heinemeier Hansson, the co-founder of the project management software company Basecamp, told members of the U.S. House antitrust subcommittee in January that navigating the App Store’s fees, rules, and review processes can feel like a “Kafka-esque nightmare.”One of the world’s most beloved companies, Apple has long enjoyed a reputation for user-friendly products, and it has cultivated an image as a high-minded protector of users’ privacy. The App Store, launched in 2008, stands as one of its most underrated inventions; it has powered the success of the iPhone—perhaps the most profitable product in human history. The concept was that Apple and developers could share in one another’s success with the iPhone user as the ultimate beneficiary.
But critics say that gauzy success tale belies the reality of a company that now wields its enormous market power to bully, extort, and sometimes even destroy rivals and business partners alike. The iOS App Store, in their telling, is a case study in anti-competitive corporate behavior. And they’re fighting to change that — by breaking its choke hold on the Apple ecosystem.
Whether Apple customers have a real choice in mobile platforms, once they’ve bought into the company’s ecosystem, is another question. In theory, they could trade in their pricey hardware for devices that run Android, which offers equivalents of many iOS features and apps. In reality, Apple has built its empire on customer lock-in: making its own gadgets and services work seamlessly with one another, but not with those of rival companies. Tasks as simple as texting your friends can become a migraine-inducing mess when you switch from iOS to Android. The more Apple products you buy, the more onerous it becomes to abandon ship.
The case against Apple goes beyond iOS. At a time when Apple is trying to reinvent itself as a services company to offset plateauing hardware sales — pushing subscriptions to Apple Music, Apple TV+, Apple News+, and Apple Arcade, as well as its own credit card — the antitrust concerns are growing more urgent. Once a theoretical debate, the question of whether its App Store constitutes an illegal monopoly is now being actively litigated on multiple fronts.
The company faces an antitrust lawsuit from consumers; a separate antitrust lawsuit from developers; a formal antitrust complaint from Spotify in the European Union; investigations by the Federal Trade Commission and the Department of Justice; and an inquiry by the antitrust subcommittee of the U.S House of Representatives. At stake are not only Apple’s profits, but the future of mobile software.Apple insists that it isn’t a monopoly, and that it strives to make the app store a fair and level playing field even as its own apps compete on that field. But in the face of unprecedented scrutiny, there are signs that the famously stubborn company may be feeling the pressure to prove it.
Tile is hardly alone in its grievances. Apple’s penchant for copying key features of third-party apps and integrating them into its operating system is so well-known among developers that it has a name: “Sherlocking.” It’s a reference to the time—in the early 2000s—when Apple kneecapped a popular third-party web-search interface for Mac OS X, called Watson. Apple built virtually all of Watson’s functionality into its own feature, called Sherlock.In a 2006 blog post, Watson’s developer, Karelia Software, recalled how Apple’s then-CEO Steve Jobs responded when they complained about the company’s 2002 power play. “Here’s how I see it,” Jobs said, according to Karelia founder Dan Wood’s loose paraphrase. “You know those handcars, the little machines that people stand on and pump to move along on the train tracks? That’s Karelia. Apple is the steam train that owns the tracks.”From an antitrust standpoint, the metaphor is almost too perfect. It was the monopoly power of railroads in the late 19th century — and their ability to make or break the businesses that used their tracks — that spurred the first U.S. antitrust regulations.There’s another Jobs quote that’s relevant here. Referencing Picasso’s famous saying, “Good artists copy, great artists steal,” Jobs said of Apple in 2006. “We have always been shameless about stealing great ideas.” Company executives later tried to finesse the quote’s semantics, but there’s no denying that much of iOS today is built on ideas that were not originally Apple’s.
