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Gary Edwards

Flash Wars: The Many Enemies and Obstacles of Flash [Part 2 of 3] - AppleInsider Comments - 0 views

  • Throughout 2007, Apple stripped nearly every vestige of Flash from its corporate site and other products, and began recommending that developers use open standards instead. As noted in Gone in a Flash: More on Apple’s iPhone Web Plans, last summer Apple published a document titled "Optimizing Web Applications and Content for iPhone," which not only listed Flash as the single bullet point item under a listing of "unsupported technologies," but went on to explicitly encourage developers to "stick with standards," and use CSS, JavaScript, and Ajax instead.
  • Microsoft has already begun leveraging its Windows and Office monopolies to distribute Silverlight as a Flash-killer on both the Windows PC desktop and on the Mac. When Microsoft releases a Mac product, it can only mean one thing: it's working hard to kill a cross platform threat to Windows.
  • the new Cocoa iPhone/iPod Touch SDK not only offers Adobe insufficient means to develop a Flash plugin, but also clearly forbids the development of runtimes designed to advance competing platforms on top of the native Cocoa environment, whether Flash, Silverlight, or Java.
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  • Apple is fighting for control of media distribution with open standards! What is it you do not get about Mpeg4, AAC, MP3 and H.264?
  • Silverlight will just not play H264 content : as usual, microsoft has adopted a look alike, incompatible video format : VC1. About why Quicktime is better that Flash when it comes to serious H264 usage, you may want to have a look at the following note/demonstration of a quicktime+javascript player : http://blog.vrarchitect.net/post/200...ter-than-Flash In short : Quicktime can reach any frame of a video. Flash just reach the I-Frames. So if you have a GOP/keyframing of 250 for instance, you can see only one frame every 10s of video (to be honest, most classical gop implies a frame every one or two seconds)
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    Excellent comment focused on the clash between Flash and Apple. Apple promotes JavaScript, CSS and AJAX: the WebKit- SproutCore recipe
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    Live Roulette from Australia, Fun and Free! Now you can play Real "www.funlivecasino.com.au" Live Roulette for Fun in Australia on a brand new website, FunLiveCasino.com.au. Using the latest internet streaming technologies, Fun Live Casino lets you join a real game happening on a real table in a real casino, all broadcast Live! You can see other real players in the casino betting on the same results you do giving you ultimate trust in the results as they are not generated 'just for you', like other casino gaming products such as 'live studios' or computer generated games. Its amazing to think next time your really in the casino that you might be on camera, and people online might be watching! The future is scary! Imagine that one day soon this will be the only way people would gamble online because the internet is full of scams, you have to be super careful, and why would you play Online Roulette any other way except from a Real Casino you can visit, see, hear and trust! Amazingly this site is completely Free and has no registration process, no spam, no clicks and no fuss. Just Instant Fun "www.funlivecasino.com.au" Free Live Roulette! Give it a try, its worth checking out! "www.funlivecasino.com.au" Australia's Online Fun Live Casino! Backlink created from http://fiverr.com/radjaseotea/making-best-156654-backlink-high-pr
Gary Edwards

Flash Wars: Adobe Fights for AIR with the Open Screen Project [Part 3 of 3] | AppleInsider - 0 views

  • Two areas where Flash can offer real value is in displaying and packaging video on the web, and in serving as a Java replacement for developing applets. Here's a look at how Adobe is working to defend its strengths in the face of competition, and how its efforts to open the Flash specification in the Open Screen Project play into these efforts.
  • proprietary FLV video container format
  • more advanced and open H.264 video codec
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  • Apple's ability to disrupt the status quo in video playback is evident in its deal with Google to vend YouTube videos to the iPhone, iPod Touch, and Apple TV as straight H.264 rather than Google's existing mix of a Flash-based player and its archaic GVI file format based upon AVI.
  • As Apple's hardware-based H.264 playback in mobile devices begins to define how to reach affluent customers with content, Flash will increasingly lose any allure on the PC desktop as well, as developers won't want to target PCs and mobiles using two different systems.
  • Adobe seems to be hoping that nobody notices these problems and that its vigilant marketing efforts can entrance the public into thinking that a drawing app extended into an animation tool and then retrofitted into a monstrous hack of a development platform is a superior technology basis for building web apps compared to the use of modern open standards created expressly to promote true interoperability by design rather than retroactively.
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    Part two of the Prince McClean Adobe-Flash history. Excellent history involves Adobe SVG, Microsoft VmL-XAML-Silverlight, Apple WebKit, Sun (Java) as they battle for dominance over web applications and the future of the Web itself.
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Gary Edwards

Google Chrome: Bad news for Adobe « counternotions - 0 views

  • Agree with much of what Kontra said and disagree with many who mentioned alternatives to JavaScript/Chrome. The main, simplest reason Adobe will be in a losing fight in terms of web platform? The Big Two - Google and Microsoft - will never make themselves dependent on or promote Adobe platform and strategy.
  • Luis, I think that’s already in play with HTML5. As I pointed out in Runtime wars (2): Apple’s answer to Flash, Silverlight and JavaFX, Apple and WHATWG are firmly progressing along those lines. Canvas is at the center of it. The glue language for all this, JavaScript, is getting a potent shot in the arm. The graphics layer, at the level of SVG, needs more work. And so on.
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    "What's good for the Internet is good for Google, and the company says its strategic proposition for the newly introduced Chrome browser is: a better platform is needed to deliver a new generation of online applications......." This is one of the best explanations of why Google had to do Chrome i've seen thus far. Kontra also provided some excellent coverage concerning the Future of the Web in a two part article previously published. Here he nails the RiA space, comparing Google Chrome, Apollo (Adobe AiR/Flex/Flash) and Microsoft Silverlight. Chrome is clearly an Open Web play. Apollo and Sivlerlight are proprietary bound in some way. Although it must be said that Apollo implements the SAME WebKit layout engine / WebKit docuemtn model as Google Chrome, Apple Safari-iPhone, Nokia, RiM and the Iris "Smart Phone" browser. The WebKit model is based on advanced HTML, CSS, SVG and JavaScript. Where Adobe goes proprietary is in replacing SVG with the proprietary SWF. The differences between JavaScript and ActionScript are inconsequential to me, especially given the problems at Ecma. One other point not covered by Kontra is the fact that Apollo and Silverlight can run as either browser plugins or standalone runtimes. Wha tthey can't do though is run as sufing browsers. They are clearly for Web Applications. Chome on the other hand re-invents the browser to handle both surfing mode AND RiA. Plus, a Chrome RiA can also run as a plugin in other browsers (Opera and FireFox). Very cool. The last point is that i wouldn't totally discount Apple RiA. They too use WebKit. The differnece is tha tApple uses the SquirrelFish JavaScript JiT with the SproutCore-Cocoa developers framework. This approach is designed to bridge the gap between the OSX desktop/server Cocoa API, and the WebKit-SproutCore API. Chrome uses the V8 JiT. And Adobe uses Tamarin to compile JavaScript-ActionScript. Tamarin was donated to the Mozilla community. If there is anythin that will s
Gonzalo San Gil, PhD.

Why Kim Dotcom hasn't been extradited 3 years after the US smashed Megaupload | Ars Tec... - 0 views

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    "Why Kim Dotcom hasn't been extradited 3 years after the US smashed Megaupload An extradition hearing is set for June 2015. Based on history, don't hold your breath. by Cyrus Farivar - Jan 18, 2015 10:30 pm UTC Share Tweet 37 Kim Dotcom made his initial play for the Billboard charts in late 2011. Kim Dotcom has never been shy. And in December 2011, roughly a month before things for Dotcom were set to drastically change, he still oozed with bravado: Dotcom released a song ("The Megaupload Song") in conjunction with producer Printz Board. It featured a number of major pop stars-including the likes of Kanye West, Jamie Foxx, and Serena Williams-all singing that they "love Megaupload."" [ # ! this is not an #IntellectualProperty #enforcement #issue, # ! it is a bunch of #governments (& friend companies) saying # ! #citizens that #information & #culture belong to '#Them'... # ! ;/ # ! ... and this doesn't work this way. # ! :) ]
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    " Why Kim Dotcom hasn't been extradited 3 years after the US smashed Megaupload An extradition hearing is set for June 2015. Based on history, don't hold your breath. by Cyrus Farivar - Jan 18, 2015 10:30 pm UTC Share Tweet 37 Kim Dotcom made his initial play for the Billboard charts in late 2011. Kim Dotcom has never been shy. And in December 2011, roughly a month before things for Dotcom were set to drastically change, he still oozed with bravado: Dotcom released a song ("The Megaupload Song") in conjunction with producer Printz Board. It featured a number of major pop stars-including the likes of Kanye West, Jamie Foxx, and Serena Williams-all singing that they "love Megaupload.""
Alexandra IcecreamApps

Best Free Audio Converters for Windows - Icecream Tech Digest - 0 views

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    With great power comes great responsibility and with fast development of media technologies comes a wide variety of media formats. Each audio format has its own significant features: some maintain excellent quality, some offer compact size, some can be played … Continue reading →
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    With great power comes great responsibility and with fast development of media technologies comes a wide variety of media formats. Each audio format has its own significant features: some maintain excellent quality, some offer compact size, some can be played … Continue reading →
Gonzalo San Gil, PhD.

Future of Open Source Survey 2016 | surveymonkey.com - 0 views

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    "* 1. Which of the following statements best represents your primary role with regard to open source? Which of the following statements best represents your primary role with regard to open source? Application Developer - I use open source to speed my development of applications Open Source Developer - I work full time contributing to open source projects Architect - I play a key role in the selection of technology, including open source, for my organization Security - I ensure that the applications we build and deploy are secure Development Management - I manage one or more teams of developers that build applications for my company IT Infrastructure and Operations Manager - Responsible for IT infrastructure and operations, identifying and justifying open source technologies and process changes in my company's infrastructure Legal - I am responsible for ensuring open source license compliance within my organization Executive Leader - I lead a company that utilizes open source in the development environment"
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    "* 1. Which of the following statements best represents your primary role with regard to open source? Which of the following statements best represents your primary role with regard to open source? Application Developer - I use open source to speed my development of applications Open Source Developer - I work full time contributing to open source projects Architect - I play a key role in the selection of technology, including open source, for my organization Security - I ensure that the applications we build and deploy are secure Development Management - I manage one or more teams of developers that build applications for my company IT Infrastructure and Operations Manager - Responsible for IT infrastructure and operations, identifying and justifying open source technologies and process changes in my company's infrastructure Legal - I am responsible for ensuring open source license compliance within my organization Executive Leader - I lead a company that utilizes open source in the development environment"
Paul Merrell

Google Sued By 36 States, DC Over Alleged Antitrust Violations | ZeroHedge - 0 views

  • Google on Wednesday was hit by a lawsuit from a group of state attorneys over alleged violation of antitrust laws by its Android app store.
  • Attorneys general for 36 states and the District of Columbia sued the Big Tech company in a 144-page complaint filed in a Northern California federal court. The group alleges that Google’s Play store for Android apps violates antitrust laws.The complaint centers on the control Google is able to exert on its Play store, allowing it to collect commissions of up to 30 percent on digital transactions within apps installed on Android-powered smartphones. Those devices represent more than 80 percent of the worldwide smartphone market.Led by Utah, North Carolina, Tennessee, New York, Arizona, Colorado, Iowa, and Nebraska, it marks the fourth major antitrust lawsuit filed by U.S. government agencies against the company since October 2020.Other lawsuits filed against Google include a complaint filed by a bipartisan coalition of states, and one filed by the Department of Justice. It echoes allegations made against the company by mobile game maker Epic Games in August 2020. That case is awaiting trial.The complaint contends that Google has deployed various tactics and set up anticompetitive barriers to ensure it distributes more than 90 percent of the apps on Android devices—a market share that the attorneys general argue represents an illegal monopoly. It also alleges Google has been abusing that power to reap billions of dollars in profit at the expense of consumers, who wind up paying higher prices to subsidize the commissions, and the makers of apps who have less money and incentive to innovate.
Paul Merrell

Is Apple an Illegal Monopoly? | OneZero - 0 views

  • 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.
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  • 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.
Gonzalo San Gil, PhD.

Congressional Research Service Shows Hollywood Is Thriving | Techdirt - 0 views

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    [... Recently, Senator Ron Wyden asked CRS if it could explore the state of the movie industry today as compared to 1995 on a variety of different criteria. You can read the full report embedded below, but here are a few key points. First off, despite the industry's regular attempt to play up its contribution to GDP and employment, the report found that the combined GDP contribution of both the "motion picture and sound recording" industries was a whopping 0.4% in 2009. Back in 1995... it was also 0.4%. ...]
Gonzalo San Gil, PhD.

Anti-Piracy Outfits Caught Fabricating Takedown Notices - TorrentFreak - 1 views

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    " Ernesto on September 18, 2016 C: 4 Opinion Not all anti-piracy vendors play fair when it comes to removing copyright-infringing content from the Internet. In fact, there is clear and convincing evidence that several companies 'make up' links that have never even existed, perhaps in part to boost their own numbers."
Gonzalo San Gil, PhD.

WebTorrent Desktop - 0 views

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    "Whether it's video from the Internet Archive, music from Creative Commons, or audiobooks from Librivox, you can play it right away. You don't have to wait for it to finish downloading. WebTorrent - network of peers WebTorrent Desktop connects to both BitTorrent and WebTorrent peers. It can talk to peers running Transmission or uTorrent, and it can also talk to web pages like instant.io."
Gonzalo San Gil, PhD.

Who's Afraid of P2P? : The Corbett Report - 1 views

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    " Who's Afraid of P2P? Corbett * 12/10/2015 * 10 Comments Podcast: Play in new window | Download | Embed Wired has allegedly found elusive Bitcoin creator "Satoshi Nakamoto" in Australia…and less than 24 hours later he's being raided by the Australian Federal Police. Sadly, given the attempts by the MSM and governments around the world to link the P2P economy to terror, mayhem and criminality, this is hardly surprising."
Gonzalo San Gil, PhD.

Sneakernet Redux: Walk Your Data - 1 views

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    [Out: the Internet. In again: sneakernet. While Internet speeds stagnate and firewalls proliferate, portable storage media have been screaming ahead in capacity, transfer speed and, most importantly, ease of use. As a result, computer users are bypassing cyberspace and burning discs or toting plug-and-play drives instead. ]
Gonzalo San Gil, PhD.

Latest Leak Shows NSA Engaging In Economic Espionage -- Not Fighting Terrorism | Techdirt - 0 views

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    "As more and more information about the NSA's global surveillance capabilities emerges through leaks of material obtained by Edward Snowden, the US authorities have been playing the terrorist card heavily. That is, they concede that they have been spying on pretty much everyone, but claim that it was only to fight terrorism, and thus to save lives. In particular, the NSA insists it is not spying on anyone for the purposes of industrial espionage -- here's what it wrote in an email to the Washington Post on the subject just a couple of weeks ago: "
Gonzalo San Gil, PhD.

Reset the Net to Shut Off NSA Spying | PopularResistance.Org, June 5th - 1 views

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    "Everyone has a role to play. If you're a developer, promise to add one new surveillance-resistant feature to your app or website, and announce it on June 5th. If you're an Internet user, promise to try out one new privacy tool that directly confronts mass surveillance. We'll have an epic and definitive list for you to choose from. Then tell your friends to get protected too. If you have a website or Tumblr, get the Internet Defense League code installed and display the Reset the Net message on June 5th to help educate and rally Internet users worldwide to defend themselves from dragnet surveillance."
Gonzalo San Gil, PhD.

Can Mozilla Halt Firefox's Slide and Break Up the Mobile Internet Duopoly? | MIT Techno... - 0 views

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    "Firefox Maker Battles to Save the Internet-and Itself Mozilla helped an open Web flourish in the 2000s. Now it's struggling to play a meaningful role on mobile devices. By George Anders on May 22, 2015 "
Gonzalo San Gil, PhD.

8 Reasons Why Singer/Songwriter Shows Are Boring - Digital Music NewsDigital Music News - 0 views

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    "I just played a new songwriter series billed as #songwritersundays at The Fox and Hounds in Studio City, CA. They have built up quite a supportive crowd of musicians and music lovers for this Sunday series. "
Gary Edwards

Two Microsofts: Mulling an alternate reality | ZDNet - 1 views

  • Judge Jackson had it right. And the Court of Appeals? Not so much
  • Judge Jackson is an American hero and news of his passing thumped me hard. His ruling against Microsoft and the subsequent overturn of that ruling resulted, IMHO, in two extraordinary directions that changed the world. Sure the what-if game is interesting, but the reality itself is stunning enough. Of course, Judge Jackson sought to break the monopoly. The US Court of Appeals overturn resulted in the monopoly remaining intact, but the Internet remaining free and open. Judge Jackson's breakup plan had a good shot at achieving both a breakup of the monopoly and, a free and open Internet. I admit though that at the time I did not favor the Judge's plan. And i actually did submit a proposal based on Microsoft having to both support the WiNE project, and, provide a complete port to WiNE to any software provider requesting a port. I wanted to break the monopolist's hold on the Windows Productivity Environment and the hundreds of millions of investment dollars and time that had been spent on application development forever trapped on that platform. For me, it was the productivity platform that had to be broken.
  • I assume the good Judge thought that separating the Windows OS from Microsoft Office / Applications would force the OS to open up the secret API's even as the OS continued to evolve. Maybe. But a full disclosure of the API's coupled with the community service "port to WiNE" requirement might have sped up the process. Incredibly, the "Undocumented Windows Secrets" industry continues to thrive, and the legendary Andrew Schulman's number is still at the top of Silicon Valley legal profession speed dials. http://goo.gl/0UGe8 Oh well. The Court of Appeals stopped the breakup, leaving the Windows Productivity Platform intact. Microsoft continues to own the "client" in "Client/Server" computing. Although Microsoft was temporarily stopped from leveraging their desktop monopoly to an iron fisted control and dominance of the Internet, I think what were watching today with the Cloud is Judge Jackson's worst nightmare. And mine too. A great transition is now underway, as businesses and enterprises begin the move from legacy client/server business systems and processes to a newly emerging Cloud Productivity Platform. In this great transition, Microsoft holds an inside straight. They have all the aces because they own the legacy desktop productivity platform, and can control the transition to the Cloud. No doubt this transition is going to happen. And it will severely disrupt and change Microsoft's profit formula. But if the Redmond reprobate can provide a "value added" transition of legacy business systems and processes, and direct these new systems to the Microsoft Cloud, the profits will be immense.
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  • Judge Jackson sought to break the ability of Microsoft to "leverage" their existing monopoly into the Internet and his plan was overturned and replaced by one based on judicial oversight. Microsoft got a slap on the wrist from the Court of Appeals, but were wailed on with lawsuits from the hundreds of parties injured by their rampant criminality. Some put the price of that criminality as high as $14 Billion in settlements. Plus, the shareholders forced Chairman Bill to resign. At the end of the day though, Chairman Bill was right. Keeping the monopoly intact was worth whatever penalty Microsoft was forced to pay. He knew that even the judicial over-site would end one day. Which it did. And now his company is ready to go for it all by leveraging and controlling the great productivity transition. No business wants to be hostage to a cold heart'd monopolist. But there is huge difference between a non-disruptive and cost effective, process-by-process value-added transition to a Cloud Productivity Platform, and, the very disruptive and costly "rip-out-and-replace" transition offered by Google, ZOHO, Box, SalesForce and other Cloud Productivity contenders. Microsoft, and only Microsoft, can offer the value-added transition path. If they get the Cloud even halfway right, they will own business productivity far into the future. Rest in Peace Judge Jackson. Your efforts were heroic and will be remembered as such. ~ge~
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    Comments on the latest SVN article mulling the effects of Judge Thomas Penfield Jackson's anti trust ruling and proposed break up of Microsoft. comment: "Chinese Wall" Ummm, there was a Chinese Wall between Microsoft Os and the MS Applciations layer. At least that's what Chairman Bill promised developers at a 1990 OS/2-Windows Conference I attended. It was a developers luncheon, hosted by Microsoft, with Chairman Bill speaking to about 40 developers with applications designed to run on the then soon to be released Windows 3.0. In his remarks, the Chairman described his vision of commoditizing the personal computer market through an open hardware-reference platform on the one side of the Windows OS, and provisioning an open application developers layer on the other using open and totally transparent API's. Of course the question came up concerning the obvious advantage Microsoft applications would have. Chairman Bill answered the question by describing the Chinese Wall that existed between Microsoft's OS and Apps develop departments. He promised that OS API's would be developed privately and separate from the Apps department, and publicly disclosed to ALL developers at the same time. Oh yeah. There was lots of anti IBM - evil empire stuff too :) Of course we now know this was a line of crap. Microsoft Apps was discovered to have been using undocumented and secret Window API's. http://goo.gl/0UGe8. Microsoft Apps had a distinct advantage over the competition, and eventually the entire Windows Productivity Platform became dependent on the MSOffice core. The company I worked for back then, Pyramid Data, had the first Contact Management application for Windows; PowerLeads. Every Friday night we would release bug fixes and improvements using Wildcat BBS. By Monday morning we would be slammed with calls from users complaining that they had downloaded the Friday night patch, and now some other application would not load or function properly. Eventually we tracked th
Gary Edwards

These 28 Words Explain Why PayPal's Creators Are Funding A Startup To Kill It - Busines... - 0 views

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    "One of the strangest things about Stripe - or perhaps, one of the strangest things about Paypal - is the list of people who are funding Stripe. Three of its biggest individual backers are people who played a key role in making PayPal a success: cofounders Peter Thiel and Max Levchin, along with Elon Musk, who joined PayPal through an acquisition. Why would Thiel, Levchin, and Musk fund a machine built destroy their baby? Probably because, in Silicon Valley, PayPal is viewed as a lost cause. We've heard a lot of complaints about how awful and hard it is to implement. " Stripe isn't the only well-funded startup going after what it views as a decrepit, disrupt-ble incumbent. Jack Dorsey's Square is too, and it's now worth billions of dollars. Another heavily funded startup, Braintree, owns the technology millions of people use to pay for things inside apps like Uber. Finally, some of eBay's bigger rivals such as Google, Amazon, and Microsoft are gunning for PayPal too.
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
  •  
    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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