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Gary Edwards

XML Production Workflows? Start with the Web and XHTML - 0 views

  • Challenges: Some Ugly Truths The challenges of building—and living with—an XML workflow are clear enough. The return on investment is a long-term proposition. Regardless of the benefits XML may provide, the starting reality is that it represents a very different way of doing things than the one we are familiar with. The Word Processing and Desktop Publishing paradigm, based on the promise of onscreen, WYSIWYG layout, is so dominant as to be practically inescapable. It has proven really hard to get from here to there, no matter how attractive XML might be on paper. A considerable amount of organizational effort and labour must be expended up front in order to realize the benefits. This is why XML is often referred to as an “investment”: you sink a bunch of time and money up front, and realize the benefits—greater flexibility, multiple output options, searching and indexing, and general futureproofing—later, over the long haul. It is not a short-term return proposition. And, of course, the returns you are able to realize from your XML investment are commensurate with what you put in up front: fine-grained, semantically rich tagging is going to give you more potential for searchability and recombination than a looser, more general-purpose approach, but it sure costs more. For instance, the Text Encoding Initiative (TEI) is the grand example of pouring enormous amounts of energy into the up-front tagging, with a very open-ended set of possibilities down the line. TEI helpfully defines a level to which most of us do not have to aspire.[5] But understanding this on a theoretical level is only part of the challenge. There are many practical issues that must be addressed. Software and labour are two of the most critical. How do you get the content into XML in the first place? Unfortunately, despite two decades of people doing SGML and XML, this remains an ugly question.
  • Practical Challenges In 2009, there is still no truly likeable—let alone standard—editing and authoring software for XML. For many (myself included), the high-water mark here was Adobe’s FrameMaker, substantially developed by the late 1990s. With no substantial market for it, it is relegated today mostly to the tech writing industry, unavailable for the Mac, and just far enough afield from the kinds of tools we use today that its adoption represents a significant hurdle. And FrameMaker was the best of the breed; most of the other software in decent circulation are programmers’ tools—the sort of things that, as Michael Tamblyn pointed out, encourage editors to drink at their desks. The labour question represents a stumbling block as well. The skill-sets and mind-sets that effective XML editors need have limited overlap with those needed by literary and more traditional production editors. The need to think of documents as machine-readable databases is not something that comes naturally to folks steeped in literary culture. In combination with the sheer time and effort that rich tagging requires, many publishers simply outsource the tagging to India, drawing a division of labour that spans oceans, to put it mildly. Once you have XML content, then what do you do with it? How do you produce books from it? Presumably, you need to be able to produce print output as well as digital formats. But while the latter are new enough to be generally XML-friendly (e-book formats being largely XML based, for instance), there aren’t any straightforward, standard ways of moving XML content into the kind of print production environments we are used to seeing. This isn’t to say that there aren’t ways of getting print—even very high-quality print—output from XML, just that most of them involve replacing your prepress staff with Java programmers.
  • Why does this have to be so hard? It’s not that XML is new, or immature, or untested. Remember that the basics have been around, and in production, since the early 1980s at least. But we have to take account of a substantial and long-running cultural disconnect between traditional editorial and production processes (the ones most of us know intimately) and the ways computing people have approached things. Interestingly, this cultural divide looked rather different in the 1970s, when publishers were looking at how to move to digital typesetting. Back then, printers and software developers could speak the same language. But that was before the ascendancy of the Desktop Publishing paradigm, which computerized the publishing industry while at the same time isolating it culturally. Those of us who learned how to do things the Quark way or the Adobe way had little in common with people who programmed databases or document-management systems. Desktop publishing technology isolated us in a smooth, self-contained universe of toolbars, grid lines, and laser proofs. So, now that the reasons to get with this program, XML, loom large, how can we bridge this long-standing divide?
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  • Using the Web as a Production Platform The answer, I think, is right in front of you. The bridge is the Web, a technology and platform that is fundamentally based on XML, and which many publishers are by now comfortably familiar with. Perhaps not entirely comfortably, but at least most publishers are already working with the Web; they already either know or have on staff people who understand it and can work with it. The foundation of our argument is this: rather than looking at jumping to XML in its full, industrial complexity, which seems to be what the O'Reilly-backed StartWithXML initiative[6] is suggesting, publishers instead leverage existing tools and technologies—starting with the Web—as a means of getting XML workflows in place. This means making small investments and working with known tools rather than spending tens of thousands of dollars on XML software and rarefied consultants. It means re-thinking how the existing pieces of the production toolchain fit together; re-thinking the existing roles of software components already in use. It means, fundamentally, taking the Web seriously as a content platform, rather than thinking of it as something you need to get content out to, somehow. If nothing else, the Web represents an opportunity to think about editorial and production from outside the shrink-wrapped Desktop Publishing paradigm.
  • Is the Web made of Real XML? At this point some predictable objections can be heard: wait a moment, the Web isn’t really made out of XML; the HTML that makes up most of the Web is at best the bastard child of SGML, and it is far too flaky/unstructured/underpowered to be taken seriously. We counter by arguing that although HTML on the Web exists in a staggering array of different incarnations, and that the majority of it is indeed an unstructured mess, this does not undermine the general principle that basic, ubiquitous Web technologies can make a solid platform for content management, editorial process, and production workflow.
  • With the advent of a published XML standard in the late 1990s came the W3C’s adoption of XHTML: the realization of the Web’s native content markup as a proper XML document type. Today, its acceptance is almost ubiquitous, even while the majority of actual content out there may not be strictly conforming. The more important point is that most contemporary Web software, from browsers to authoring tools to content management systems (from blogs to enterprise systems), are capable of working with clean, valid XHTML. Or, to put the argument the other way around, clean, valid XHTML content plays absolutely seamlessly with everything else on the Web.[7]
  • The objection which follows, then, will be that even if we grant that XHTML is a real XML document type, that it is underpowered for “serious” content because it is almost entirely presentation (formatting) oriented; it lacks any semantic depth. In XHTML, a paragraph is a paragraph is a paragraph, as opposed to a section or an epigraph or a summary.
  • n contrast, more “serious” XML document types like DocBook[8] or DITA-derived schemas[9] are capable of making semantic distinctions about content chunks at a fine level of granularity and with a high degree of specificity.
  • So there is an argument for recalling the 80:20 rule here. If XHTML can provide 80% of the value with just 20% of the investment, then what exactly is the business case for spending the other 80% to achieve that last 20% of value? We suspect the ratio is actually quite a bit steeper than 80:20 for most publishers.
  • Furthermore, just to get technical for a moment, XHTML is extensible in a fairly straightforward way, through the common “class” attribute on each element. Web developers have long leveraged this kind of extensibility in the elaboration of “microformats” for semantic-web applications.[10] There is no reason why publishers shouldn’t think to use XHTML’s simple extensibility in a similar way for their own ends.
  • XHTML, on the other hand, is supported by a vast array of quotidian software, starting with the ubiquitous Web browser. For this very reason, XHTML is in fact employed as a component part of several more specialized document types (ONIX and ePub among them).
  • Why re-invent a general-purpose prose representation when XHTML already does the job?
  • It is worth pausing for a moment to consider the role of XHTML in the ePub standard for ebook content. An ePub file is, anatomically, a simply disguised zip archive. Inside the zip archive are a few standard component parts: there are specialized files that declare metadata about the book, and about the format of the book. And then there is the book’s content, represented in XHTML. An ePub book is a Web page in a wrapper.
  • To sum up the general argument: the Web as it already exists presents incredible value to publishers, as a platform for doing XML content management with existing (and often free) tools, and without having to go blindly into the unknown. At this point, we can offer a few design guidelines: prefer existing and/or ubiquitous tools over specialized ones wherever possible; prefer free software over proprietary systems where possible; prefer simple tools controlled and coordinated by human beings over fully automated (and therefore complex) systems; play to our strengths: use Web software for storing and managing content, use layout software for layout, and keep editors and production people in charge of their own domains.
  • Putting the Pieces Together: A Prototype
  • At the SFU Master of Publishing Program, we have been chipping away at this general line of thinking for a few years. Over that time, Web content management systems have been getting more and more sophisticated, all the while getting more streamlined and easier to use. (NB: if you have a blog, you have a Web content management system.) The Web is beginning to be recognized as a writing and editing environment used by millions of people. And the ways in which content is represented, stored, and exchanged online have become increasingly robust and standardized.
  • The missing piece of the puzzle has been print production: how can we move content from its malleable, fluid form on line into the kind of high-quality print production environments we’ve come to expect after two decades of Desktop Publishing?
  • Anyone who has tried to print Web content knows that the existing methods leave much to be desired (hyphenation and justification, for starters). In the absence of decent tools for this, most publishers quite naturally think of producing the print content first, and then think about how to get material onto the Web for various purposes. So we tend to export from Word, or from Adobe, as something of an afterthought.
  • While this sort of works, it isn’t elegant, and it completely ignores the considerable advantages of Web-based content management.
  • Content managed online is stored in one central location, accessible simultaneously to everyone in your firm, available anywhere you have an Internet connection, and usually exists in a much more fluid format than Word files. If only we could manage the editorial flow online, and then go to print formats at the end, instead of the other way around. At SFU, we made several attempts to make this work by way of the supposed “XML import” capabilities of various Desktop Publishing tools, without much success.[12]
  • In the winter of 2009, Adobe solved this part of the problem for us with the introduction of its Creative Suite 4. What CS4 offers is the option of a complete XML representation of an InDesign document: what Adobe calls IDML (InDesign Markup Language).
  • The IDML file format is—like ePub—a simply disguised zip archive that, when unpacked, reveals a cluster of XML files that represent all the different facets of an InDesign document: layout spreads, master pages, defined styles, colours, and of course, the content.
  • IDML is a well thought-out XML standard that achieves two very different goals simultaneously: it preserves all of the information that InDesign needs to do what it does; and it is broken up in a way that makes it possible for mere mortals (or at least our Master of Publishing students) to work with it.
  • What this represented to us in concrete terms was the ability to take Web-based content and move it into InDesign in a straightforward way, thus bridging Web and print production environments using existing tools and skillsets, with a little added help from free software.
  • We would take clean XHTML content, transform it to IDML-marked content, and merge that with nicely designed templates in InDesign.
  • The result is an almost push-button publication workflow, which results in a nice, familiar InDesign document that fits straight into the way publishers actually do production.
  • Tracing the steps To begin with, we worked backwards, moving the book content back to clean XHTML.
  • The simplest method for this conversion—and if you want to create Web content, this is an excellent route—was to use Adobe’s “Export to Digital Editions” option, which creates an ePub file.
  • Recall that ePub is just XHTML in a wrapper, so within the ePub file was a relatively clean XHTML document. It was somewhat cleaner (that is, the XHTML tagging was simpler and less cluttered) than InDesign’s other Web-oriented exports, possibly because Digital Editions is a well understood target, compared with somebody’s website.
  • In order to achieve our target of clean XHTML, we needed to do some editing; the XHTML produced by InDesign’s “Digital Editions” export was presentation-oriented. For instance, bulleted list items were tagged as paragraphs, with a class attribute identifying them as list items. Using the search-and-replace function, we converted such structures to proper XHTML list and list-item elements. Our guiding principle was to make the XHTML as straightforward as possible, not dependent on any particular software to interpret it.
  • We broke the book’s content into individual chapter files; each chapter could then carry its own basic metadata, and the pages conveniently fit our Web content management system (which is actually just a wiki). We assembled a dynamically generated table of contents for the 12 chapters, and created a cover page. Essentially, the book was entirely Web-based at this point.
  • When the book chapters are viewed online, they are formatted via a CSS2 stylesheet that defines a main column for content as well as dedicating screen real estate for navigational elements. We then created a second template to render the content for exporting; this was essentially a bare-bones version of the book with no navigation and minimal styling. Pages (or even the entire book) can be exported (via the “Save As...” function in a Web browser) for use in either print production or ebook conversion. At this point, we required no skills beyond those of any decent Web designer.
  • Integrating with CS4 for Print Adobe’s IDML language defines elements specific to InDesign; there is nothing in the language that looks remotely like XHTML. So a mechanical transformation step is needed to convert the XHTML content into something InDesign can use. This is not as hard as it might seem.
  • Both XHTML and IDML are composed of straightforward, well-documented structures, and so transformation from one to the other is, as they say, “trivial.” We chose to use XSLT (Extensible Stylesheet Language Transforms) to do the work. XSLT is part of the overall XML specification, and thus is very well supported in a wide variety of tools. Our prototype used a scripting engine called xsltproc, a nearly ubiquitous piece of software that we found already installed as part of Mac OS X (contemporary Linux distributions also have this as a standard tool), though any XSLT processor would work.
  • In other words, we don’t need to buy InCopy, because we just replaced it with the Web. Our wiki is now plugged directly into our InDesign layout. It even automatically updates the InDesign document when the content changes. Credit is due at this point to Adobe: this integration is possible because of the open file format in the Creative Suite 4.
  • We wrote an XSLT transformation script[18] that converted the XHTML content from the Web into an InCopy ICML file. The script itself is less than 500 lines long, and was written and debugged over a period of about a week by amateurs (again, the people named at the start of this article). The script runs in a couple of seconds, and the resulting .icml file can then be “placed” directly into an InDesign template. The ICML file references an InDesign stylesheet, so the template file can be set up with a house-styled layout, master pages, and stylesheet definitions for paragraphs and character ranges.
  • The result is very simple and easy to use. Our demonstration requires that a production editor run the XSLT transformation script manually, but there is no reason why this couldn’t be built directly into the Web content management system so that exporting the content to print ran the transformation automatically. The resulting file would then be “placed” in InDesign and proofed.
  • It should be noted that the Book Publishing 1 proof-of-concept was artificially complex; we began with a book laid out in InDesign and ended up with a look-alike book laid out in InDesign. But next time—for instance, when we publish Book Publishing 2—we can begin the process with the content on the Web, and keep it there throughout the editorial process. The book’s content could potentially be written and edited entirely online, as Web content, and then automatically poured into an InDesign template at proof time. “Just in time,” as they say. This represents an entirely new way of thinking of book production. With a Web-first orientation, it makes little sense to think of the book as “in print” or “out of print”—the book is simply available, in the first place online; in the second place in derivative digital formats; and third, but really not much more difficult, in print-ready format, via the usual InDesign CS print production system publishers are already familiar with.
  • Creating Ebook Files Creating electronic versions from XHTML source is vastly simpler than trying to generate these out of the existing print process. The ePub version is extremely easy to generate; so is online marketing copy or excerpts for the Web, since the content begins life Web-native.
  • Since an ePub file is essentially XHTML content in a special wrapper, all that is required is that we properly “wrap” our XHTML content. Ideally, the content in an ePub file is broken into chapters (as ours was) and a table of contents file is generated in order to allow easy navigation within an ebook reader. We used Julian Smart’s free tool eCub[19] to simply and automatically generate the ePub wrapper and the table of contents. The only custom development we did was to create a CSS stylesheet for the ebook so that headings and paragraph indents looked the way we wanted. Starting with XHTML content, creating ePub is almost too easy.
  • Such a workflow—beginning with the Web and exporting to print—is surely more in line with the way we will do business in the 21st century, where the Web is the default platform for reaching audiences, developing content, and putting the pieces together. It is time, we suggest, for publishers to re-orient their operations and start with the Web.
  • Our project demonstrates that Web technologies are indeed good enough to use in an XML-oriented workflow; more specialized and expensive options are not necessarily required. For massive-scale enterprise publishing, this approach may not offer enough flexibility, and the challenge of adding and extracting extra semantic richness may prove more trouble than it's worth.
  • But for smaller firms who are looking at the straightforward benefits of XML-based processes—single source publishing, online content and workflow management, open and accessible archive formats, greater online discoverability—here is a way forward.
  • Rather than a public-facing website, our system relies on the Web as a content management platform—of course a public face could easily be added.
  • The final piece of our puzzle, the ability to integrate print production, was made possible by Adobe's release of InDesign with an open XML file format. Since the Web's XHTML is also XML, is can be easily and confidently transformed to the InDesign format.
  • today, we are able to put the process together using nothing but standard, relatively ubiquitous Web tools: the Web itself as an editing and content management environment, standard Web scripting tools for the conversion process, and the well-documented IDML file format to integrate the layout tool.
  • Using the Web as a Production Platform
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    I was looking for an answer to a problem Marbux had presented, and found this interesting article.  The issue was that of the upcoming conversion of the Note Case Pro (NCP) layout engine to the WebKit layout engine, and what to do about the NCP document format. My initial reaction was to encode the legacy NCP document format in XML, and run an XSLT to a universal pivot format like TEI-XML.  From there, the TEI-XML community would provide all the XSLT transformation routines for conversion to ODF, OOXML, XHTML, ePUB and HTML/CSS. Researching the problems one might encounter with this approach, I found this article.  Fascinating stuff. My take away is that TEI-XML would not be as effective a "universal pivot point" as XHTML.  Or perhaps, if NCP really wants to get aggressive; IDML - InDesign Markup Language. The important point though is that XHTML is a browser specific version of XML, and compatible with the Web Kit layout engine Miro wants to move NCP to. The concept of encoding an existing application-specific format in XML has been around since 1998, when XML was first introduced as a W3C standard, a "structured" subset of SGML. (HTML is also a subset of SGML). The multiplatform StarOffice productivity suite became "OpenOffice" when Sun purchased the company in 1998, and open sourced the code base. The OpenOffice developer team came out with a XML encoding of their existing document formats in 2000. The application specific encoding became an OASIS document format standard proposal in 2002 - also known as ODF. Microsoft followed OpenOffice with a XML encoding of their application-specific binary document formats, known as OOXML. Encoding the existing NCP format in XML, specifically targeting XHTML as a "universal pivot point", would put the NCP Outliner in the Web editor category, without breaking backwards compatibility. The trick is in the XSLT conversion process. But I think that is something much easier to handle then trying to
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    I was looking for an answer to a problem Marbux had presented, and found this interesting article.  The issue was that of the upcoming conversion of the Note Case Pro (NCP) layout engine to the WebKit layout engine, and what to do about the NCP document format. My initial reaction was to encode the legacy NCP document format in XML, and run an XSLT to a universal pivot format like TEI-XML.  From there, the TEI-XML community would provide all the XSLT transformation routines for conversion to ODF, OOXML, XHTML, ePUB and HTML/CSS. Researching the problems one might encounter with this approach, I found this article.  Fascinating stuff. My take away is that TEI-XML would not be as effective a "universal pivot point" as XHTML.  Or perhaps, if NCP really wants to get aggressive; IDML - InDesign Markup Language. The important point though is that XHTML is a browser specific version of XML, and compatible with the Web Kit layout engine Miro wants to move NCP to. The concept of encoding an existing application-specific format in XML has been around since 1998, when XML was first introduced as a W3C standard, a "structured" subset of SGML. (HTML is also a subset of SGML). The multiplatform StarOffice productivity suite became "OpenOffice" when Sun purchased the company in 1998, and open sourced the code base. The OpenOffice developer team came out with a XML encoding of their existing document formats in 2000. The application specific encoding became an OASIS document format standard proposal in 2002 - also known as ODF. Microsoft followed OpenOffice with a XML encoding of their application-specific binary document formats, known as OOXML. Encoding the existing NCP format in XML, specifically targeting XHTML as a "universal pivot point", would put the NCP Outliner in the Web editor category, without breaking backwards compatibility. The trick is in the XSLT conversion process. But I think that is something much easier to handle then trying to
Gonzalo San Gil, PhD.

The benefits of getting involved in tech communities | Ginny Ghezzo | Opensource.com - 0 views

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    "Great Wide Open 2016 lightning talks: Ginny Ghezzo A common piece of advice thrown around in tech circles is to "get involved," but what does that mean, exactly?"
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    "Great Wide Open 2016 lightning talks: Ginny Ghezzo A common piece of advice thrown around in tech circles is to "get involved," but what does that mean, exactly?"
Paul Merrell

WikiLeaks' Julian Assange warns: Google is not what it seems - 0 views

  • Back in 2011, Julian Assange met up with Eric Schmidt for an interview that he considers the best he’s ever given. That doesn’t change, however, the opinion he now has about Schmidt and the company he represents, Google.In fact, the WikiLeaks leader doesn’t believe in the famous “Don’t Be Evil” mantra that Google has been preaching for years.Assange thinks both Schmidt and Google are at the exact opposite spectrum.“Nobody wants to acknowledge that Google has grown big and bad. But it has. Schmidt’s tenure as CEO saw Google integrate with the shadiest of US power structures as it expanded into a geographically invasive megacorporation. But Google has always been comfortable with this proximity,” Assange writes in an opinion piece for Newsweek.
  • “Long before company founders Larry Page and Sergey Brin hired Schmidt in 2001, their initial research upon which Google was based had been partly funded by the Defense Advanced Research Projects Agency (DARPA). And even as Schmidt’s Google developed an image as the overly friendly giant of global tech, it was building a close relationship with the intelligence community,” Assange continues.Throughout the lengthy article, Assange goes on to explain how the 2011 meeting came to be and talks about the people the Google executive chairman brought along - Lisa Shields, then vice president of the Council on Foreign Relationship, Jared Cohen, who would later become the director of Google Ideas, and Scott Malcomson, the book’s editor, who would later become the speechwriter and principal advisor to Susan Rice.“At this point, the delegation was one part Google, three parts US foreign-policy establishment, but I was still none the wiser.” Assange goes on to explain the work Cohen was doing for the government prior to his appointment at Google and just how Schmidt himself plays a bigger role than previously thought.In fact, he says that his original image of Schmidt, as a politically unambitious Silicon Valley engineer, “a relic of the good old days of computer science graduate culture on the West Coast,” was wrong.
  • However, Assange concedes that that is not the sort of person who attends Bilderberg conferences, who regularly visits the White House, and who delivers speeches at the Davos Economic Forum.He claims that Schmidt’s emergence as Google’s “foreign minister” did not come out of nowhere, but it was “presaged by years of assimilation within US establishment networks of reputation and influence.” Assange makes further accusations that, well before Prism had even been dreamed of, the NSA was already systematically violating the Foreign Intelligence Surveillance Act under its director at the time, Michael Hayden. He states, however, that during the same period, namely around 2003, Google was accepting NSA money to provide the agency with search tools for its rapidly-growing database of information.Assange continues by saying that in 2008, Google helped launch the NGA spy satellite, the GeoEye-1, into space and that the search giant shares the photographs from the satellite with the US military and intelligence communities. Later on, 2010, after the Chinese government was accused of hacking Google, the company entered into a “formal information-sharing” relationship with the NSA, which would allow the NSA’s experts to evaluate the vulnerabilities in Google’s hardware and software.
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  • “Around the same time, Google was becoming involved in a program known as the “Enduring Security Framework” (ESF), which entailed the sharing of information between Silicon Valley tech companies and Pentagon-affiliated agencies at network speed.’’Emails obtained in 2014 under Freedom of Information requests show Schmidt and his fellow Googler Sergey Brin corresponding on first-name terms with NSA chief General Keith Alexander about ESF,” Assange writes.Assange seems to have a lot of backing to his statements, providing links left and right, which people can go check on their own.
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    The "opinion piece for Newsweek" is an excerpt from Assange's new book, When Google met Wikileaks.  The chapter is well worth the read. http://www.newsweek.com/assange-google-not-what-it-seems-279447
Gonzalo San Gil, PhD.

How The Copyright Wars Have Harmed Privacy And A Free Press | Techdirt - 1 views

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    "from the direct-sharing-files-is-hard dept Parker Higgins has a great opinion piece over at Wired, which is ostensibly about the recent release of OnionShare, a tool for sharing large documents directly and securely between two individuals, but which looks deeper into the question of why we're in 2014 and sharing such large files directly without intermediaries is such a challenge. And, as Higgins notes, a big part of that goes right back to... the copyright wars. "
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    "from the direct-sharing-files-is-hard dept Parker Higgins has a great opinion piece over at Wired, which is ostensibly about the recent release of OnionShare, a tool for sharing large documents directly and securely between two individuals, but which looks deeper into the question of why we're in 2014 and sharing such large files directly without intermediaries is such a challenge. And, as Higgins notes, a big part of that goes right back to... the copyright wars. "
Gonzalo San Gil, PhD.

Germany's Spies Grab 11 Billion Pieces Of Phone Metadata A Year -- And Pass On 6 Billio... - 1 views

    • Gonzalo San Gil, PhD.
       
      [U.S. Spying On Europe: EU Confronts Washington Reports Of Spying On Allies [06/30/2013] ]
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    "from the bad-sex dept Given Germany's high-profile attachment to privacy, it's always interesting to hear about ways in which its spies have been ignoring that tradition. Here, for example, is a story in the German newspaper Die Zeit about the country's foreign intelligence agency BND gathering metadata from millions of phone records every day: "
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    "from the bad-sex dept Given Germany's high-profile attachment to privacy, it's always interesting to hear about ways in which its spies have been ignoring that tradition. Here, for example, is a story in the German newspaper Die Zeit about the country's foreign intelligence agency BND gathering metadata from millions of phone records every day: "
Gonzalo San Gil, PhD.

Sony BMG copy protection rootkit scandal - Wikipedia, the free encyclopedia - 0 views

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    "The Sony BMG CD copy protection rootkit scandal of 2005-2007 concerns deceptive, illegal, and potentially harmful copy protection measures implemented by Sony BMG on about 22 million CDs. When inserted into a computer, the CDs installed one of two pieces of software which provided a form of digital rights management (DRM) by modifying the operating system to interfere with CD copying. " [Source: arstechnica.com # ! … coming from one of the main #Malware #distributors… # ! :D [# Just one Reference: http://en.wikipedia.org/wiki/Sony_BMG_copy_protection_rootkit_scandal] See on Scoop.it - The Benefits of Sharing]
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    "The Sony BMG CD copy protection rootkit scandal of 2005-2007 concerns deceptive, illegal, and potentially harmful copy protection measures implemented by Sony BMG on about 22 million CDs. When inserted into a computer, the CDs installed one of two pieces of software which provided a form of digital rights management (DRM) by modifying the operating system to interfere with CD copying. "
Gonzalo San Gil, PhD.

Total security part 1: online | Linux User & Developer - the Linux and FOSS mag for a G... - 0 views

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    "Get rock-solid defences on your systems and networks Follow @LinuxUserMag This article is a companion piece to our Total Privacy article"
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    "Get rock-solid defences on your systems and networks Follow @LinuxUserMag This article is a companion piece to our Total Privacy article"
Gonzalo San Gil, PhD.

The Grand Unified Theory On The Economics Of Free | Techdirt - 0 views

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    [from the have-fun-with-it dept Ok. I'll be the first to admit that I've taken the long way around in going through my series of posts exploring the economics of goods when scarcity is removed. What I had thought would be a series of 5 or 6 posts, turned into something much longer -- but each week people came up with new questions or discussions or objections, and so I tried to spend some time digging down on various pieces of the economics at hand.]
Gonzalo San Gil, PhD.

Ardour 5.0 Open Source DAW Officially Released with Tabbed User Interface - 0 views

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    "Now available for GNU/Linux, Mac OS X, and Windows OSes Aug 12, 2016 18:40 GMT · By Marius Nestor · Share: Currently one of the best cross-platform, open-source and freely distributed DAW (Digital Audio Workstation) software pieces, Ardour has received today, August 12, 2016, a major milestone that introduces a multitude of new features and countless improvements."
Gonzalo San Gil, PhD.

Who's the Best Digital Music Distribution Company? - 0 views

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    "I originally did this report for Ari's Take. Everything is current and has been fact checked by every company. This is the most comprehensive and accurate digital distribution comparison piece on the web. Who is the best digital distributor? Read on… I sat down with reps at 8 different digital distribution companies"
Paul Merrell

FBI director: Cover up your webcam | TheHill - 0 views

  • The head of the FBI on Wednesday defended putting a piece of tape over his personal laptop's webcam, claiming the security step was a common sense one that most should take.  “There’s some sensible things you should be doing, and that’s one of them,” Director James Comey said during a conference at the Center for Strategic and International Studies.ADVERTISEMENT“You go into any government office and we all have the little camera things that sit on top of the screen,” he added. “They all have a little lid that closes down on them.“You do that so that people who don’t have authority don’t look at you. I think that’s a good thing.”Comey was pilloried online earlier this year, after he revealed that he puts a piece of tape over his laptop camera to keep away prying eyes. The precaution is a common one among security advocates, given the relative ease of hacking laptop cameras.  
  • But many found it ironic for Comey, who this year launched a high profile battle against Apple to gain access to data locked inside of the iPhone used by one of the San Bernardino, Calif., terrorists. Many viewed that fight as a referendum on digital privacy.Comey was “much mocked for that,” he acknowledged on Wednesday.But he still uses the tape on his laptop.“I hope people lock their cars,” he said. “Lock your doors at night… if you have an alarm system, you should use it.”“It’s not crazy that the FBI director cares about personal security as well,” the FBI director added. “So I think people ought to take responsibility for their own safety and security.”
Paul Merrell

Long-Secret Stingray Manuals Detail How Police Can Spy on Phones - 0 views

  • Harris Corp.’s Stingray surveillance device has been one of the most closely guarded secrets in law enforcement for more than 15 years. The company and its police clients across the United States have fought to keep information about the mobile phone-monitoring boxes from the public against which they are used. The Intercept has obtained several Harris instruction manuals spanning roughly 200 pages and meticulously detailing how to create a cellular surveillance dragnet. Harris has fought to keep its surveillance equipment, which carries price tags in the low six figures, hidden from both privacy activists and the general public, arguing that information about the gear could help criminals. Accordingly, an older Stingray manual released under the Freedom of Information Act to news website TheBlot.com last year was almost completely redacted. So too have law enforcement agencies at every level, across the country, evaded almost all attempts to learn how and why these extremely powerful tools are being used — though court battles have made it clear Stingrays are often deployed without any warrant. The San Bernardino Sheriff’s Department alone has snooped via Stingray, sans warrant, over 300 times.
  • The documents described and linked below, instruction manuals for the software used by Stingray operators, were provided to The Intercept as part of a larger cache believed to have originated with the Florida Department of Law Enforcement. Two of them contain a “distribution warning” saying they contain “Proprietary Information and the release of this document and the information contained herein is prohibited to the fullest extent allowable by law.”  Although “Stingray” has become a catch-all name for devices of its kind, often referred to as “IMSI catchers,” the manuals include instructions for a range of other Harris surveillance boxes, including the Hailstorm, ArrowHead, AmberJack, and KingFish. They make clear the capability of those devices and the Stingray II to spy on cellphones by, at minimum, tracking their connection to the simulated tower, information about their location, and certain “over the air” electronic messages sent to and from them. Wessler added that parts of the manuals make specific reference to permanently storing this data, something that American law enforcement has denied doing in the past.
  • One piece of Windows software used to control Harris’s spy boxes, software that appears to be sold under the name “Gemini,” allows police to track phones across 2G, 3G, and LTE networks. Another Harris app, “iDen Controller,” provides a litany of fine-grained options for tracking phones. A law enforcement agent using these pieces of software along with Harris hardware could not only track a large number of phones as they moved throughout a city but could also apply nicknames to certain phones to keep track of them in the future. The manual describing how to operate iDEN, the lengthiest document of the four at 156 pages, uses an example of a target (called a “subscriber”) tagged alternately as Green Boy and Green Ben:
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  • In order to maintain an uninterrupted connection to a target’s phone, the Harris software also offers the option of intentionally degrading (or “redirecting”) someone’s phone onto an inferior network, for example, knocking a connection from LTE to 2G:
  • A video of the Gemini software installed on a personal computer, obtained by The Intercept and embedded below, provides not only an extensive demonstration of the app but also underlines how accessible the mass surveillance code can be: Installing a complete warrantless surveillance suite is no more complicated than installing Skype. Indeed, software such as Photoshop or Microsoft Office, which require a registration key or some other proof of ownership, are more strictly controlled by their makers than software designed for cellular interception.
Gonzalo San Gil, PhD.

Four Key Digital Challenges for the Music Industry in 2016 - Digital Music News - 0 views

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    "This past year has been very eventful one for the music industry. The major debates centered on royalties, the freemium model and the place of YouTube in the industry. This piece takes a look at the main digital challenges for the industry over the course of 2016."
Gonzalo San Gil, PhD.

ACTA Failure Inspires The Most Clueless Column Ever | Techdirt - 2 views

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    [from the do-these-people-think? dept Last week was a good week for those who believe in the internet and culture, with the rejection of ACTA being a key moment in Europe, on par with the rejection of SOPA in the US six months earlier. Of course, as we saw with the defeat of SOPA, a number of ACTA supporters who haven't come to terms with why the public was so upset are lashing out. One of the more outspoken responses against the EU Parliament's decision came from Ewan Morrison for The Guardian, in a piece that I honestly read over a few times to make sure it wasn't satire. I don't think there's a single truly accurate statement in the entire thing. It sets the bar of misinformation so high that I think from now on I will compare any clueless article to the newly developed Ewan Morrison scale of wrongness, with this column scoring a perfect 10 out of 10. Let's explore why. ...]
Gary Edwards

Apple and Facebook Flash Forward to Computer Memory of the Future | Enterprise | WIRED - 1 views

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    Great story that is at the center of a new cloud computing platform. I met David Flynn back when he was first demonstrating the Realmsys flash card. Extraordinary stuff. He was using the technology to open a secure Linux computing window on an operating Windows XP system. The card opened up a secure data socket, connecting to any Internet Server or Data Server, and running applications on that data - while running Windows and Windows apps in the background. Incredible mesh of Linux, streaming data, and legacy Windows apps. Everytime I find these tech pieces explaining Fusion-io though, I can't help but think that David Flynn is one of the most decent, kind and truly deserving of success people that I have ever met. excerpt: "Apple is spending mountains of money on a new breed of hardware device from a company called Fusion-io. As a public company, Fusion-io is required to disclose information about customers that account for an usually large portion of its revenue, and with its latest annual report, the Salt Lake City outfit reveals that in 2012, at least 25 percent of its revenue - $89.8 million - came from Apple. That's just one figure, from just one company. But it serves as a sign post, showing you where the modern data center is headed. 'There's now a blurring between the storage world and the memory world. People have been enlightened by Fusion-io.' - Gary Gentry Inside a data center like the one Apple operates in Maiden, North Carolina, you'll find thousands of computer servers. Fusion-io makes a slim card that slots inside these machines, and it's packed with hundreds of gigabytes of flash memory, the same stuff that holds all the software and the data on your smartphone. You can think of this card as a much-needed replacement for the good old-fashioned hard disk that typically sits inside a server. Much like a hard disk, it stores information. But it doesn't have any moving parts, which means it's generally more reliable. It c
Gonzalo San Gil, PhD.

Get a sneak peek review of soon-to-be-release Drupal 8 | opensource.com - 0 views

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    "When it was released in 2011, Drupal 7 was the most accessible open source content management system (CMS) available. I expect that this will be true until the release of Drupal 8. Web accessibility requires constant vigilance and will be something that will always need attention in any piece of software striving to meet the Web Content Accessibility Guidelines (WCAG) 2.0 guidelines."
Gonzalo San Gil, PhD.

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

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

11 sure signs you've been hacked | ITworld - 1 views

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    ["By Roger A. Grimes, InfoWorld | Security Add a comment November 07, 2013, 2:19 PM - In today's threatscape, antivirus software provides little piece of mind. In fact, antimalware scanners on the whole are horrifically inaccurate, especially with exploits less than 24 hours old. After all, malicious hackers and malware can change their tactics at will. Swap a few bytes around, and a previously recognized malware program becomes unrecognizable." ...]
Gonzalo San Gil, PhD.

Why is the New York Times Coverage on Artist Rights So Oddly Inconsistent? | MUSIC * TE... - 0 views

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    "If you read the New York Times Sunday Magazine (which probably means you're over 40 or live inside of the Acela corridor), you may have noticed a story last week titled "The Creative Apocalypse That Wasn't". This piece is another of these "Sky is Rising" type things bankrolled by the Computer & Communications Industry Association, aka Google. I'm not accusing the author of being on anyone's payroll (except perhaps the Times itself…more about that later), but I can't help noticing the similarities."
Gonzalo San Gil, PhD.

What open source and journalism have in common | Opensource.com - 0 views

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    [... Open Exchange Promoting openness and the free flow of information is one of journalists' most important functions in society. News organizations take bits of information that are hidden or inaccessible, piece them together into a cohesive story, and broadcast that story to readers in a form they can consume. ...]
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