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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
Paul Merrell

2nd Cir. Affirms That Creation of Full-Text Searchable Database of Works Is Fair Use | ... - 0 views

  • The fair use doctrine permits the unauthorized digitization of copyrighted works in order to create a full-text searchable database, the U.S. Court of Appeals for the Second Circuit ruled June 10.Affirming summary judgment in favor of a consortium of university libraries, the court also ruled that the fair use doctrine permits the unauthorized conversion of those works into accessible formats for use by persons with disabilities, such as the blind.
  • The dispute is connected to the long-running conflict between Google Inc. and various authors of books that Google included in a mass digitization program. In 2004, Google began soliciting the participation of publishers in its Google Print for Publishers service, part of what was then called the Google Print project, aimed at making information available for free over the Internet.Subsequently, Google announced a new project, Google Print for Libraries. In 2005, Google Print was renamed Google Book Search and it is now known simply as Google Books. Under this program, Google made arrangements with several of the world's largest libraries to digitize the entire contents of their collections to create an online full-text searchable database.The announcement of this program triggered a copyright infringement action by the Authors Guild that continues to this day.
  • Part of the deal between Google and the libraries included an offer by Google to hand over to the libraries their own copies of the digitized versions of their collections.In 2011, a group of those libraries announced the establishment of a new service, called the HathiTrust digital library, to which the libraries would contribute their digitized collections. This database of copies is to be made available for full-text searching and preservation activities. Additionally, it is intended to offer free access to works to individuals who have “print disabilities.” For works under copyright protection, the search function would return only a list of page numbers that a search term appeared on and the frequency of such appearance.
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  • Turning to the fair use question, the court first concluded that the full-text search function of the Hathitrust Digital Library was a “quintessentially transformative use,” and thus constituted fair use. The court said:the result of a word search is different in purpose, character, expression, meaning, and message from the page (and the book) from which it is drawn. Indeed, we can discern little or no resemblance between the original text and the results of the HDL full-text search.There is no evidence that the Authors write with the purpose of enabling text searches of their books. Consequently, the full-text search function does not “supersede[ ] the objects [or purposes] of the original creation.”Turning to the fourth fair use factor—whether the use functions as a substitute for the original work—the court rejected the argument that such use represents lost sales to the extent that it prevents the future development of a market for licensing copies of works to be used in full-text searches.However, the court emphasized that the search function “does not serve as a substitute for the books that are being searched.”
  • The court also rejected the argument that the database represented a threat of a security breach that could result in the full text of all the books becoming available for anyone to access. The court concluded that Hathitrust's assertions of its security measures were unrebutted.Thus, the full-text search function was found to be protected as fair use.
  • The court also concluded that allowing those with print disabilities access to the full texts of the works collected in the Hathitrust database was protected as fair use. Support for this conclusion came from the legislative history of the Copyright Act's fair use provision, 17 U.S.C. §107.
Gonzalo San Gil, PhD.

Call for Papers | thinktwice.com | Creativity, Human Rights, Hacktivism [# Vi... - 0 views

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    "Call for Papers CALL FOR SUBMISSIONS We are looking for session submissions from Pirates, NGOs and Academia to following tracks: (other topics are allowed as well) Creativity: copyrights, patents, collaboration, citizen journalism, media, DRM, open access, FOI, public licensing, policy reform, education, etc… Human Rights: security, data protection, surveillance, FOI, basic income, emigration, voting rights, drones, non-proliferation, dual use technology, encryption, anonymity, transparency, net neutrality, open data, egovernment, society, whistle blowing, political science, etc… Activism|Hacktivism: Future, innovation, liquid democracy, transhumanism, cyborgs, startups, vision, 3d-printing, crowdsourcing, big data, participation, pirate parties, artificial intelligence, globalization, space travel, social networks, freemanning, freehammond, hacktivism, activism, civil disobedience, hacker culture, cyberpunk, cypherpunk, wikileaks, surveillance, digital activism, etc..."
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    "Call for Papers CALL FOR SUBMISSIONS We are looking for session submissions from Pirates, NGOs and Academia to following tracks: (other topics are allowed as well) Creativity: copyrights, patents, collaboration, citizen journalism, media, DRM, open access, FOI, public licensing, policy reform, education, etc… Human Rights: security, data protection, surveillance, FOI, basic income, emigration, voting rights, drones, non-proliferation, dual use technology, encryption, anonymity, transparency, net neutrality, open data, egovernment, society, whistle blowing, political science, etc… Activism|Hacktivism: Future, innovation, liquid democracy, transhumanism, cyborgs, startups, vision, 3d-printing, crowdsourcing, big data, participation, pirate parties, artificial intelligence, globalization, space travel, social networks, freemanning, freehammond, hacktivism, activism, civil disobedience, hacker culture, cyberpunk, cypherpunk, wikileaks, surveillance, digital activism, etc..."
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    "Call for Papers CALL FOR SUBMISSIONS We are looking for session submissions from Pirates, NGOs and Academia to following tracks: (other topics are allowed as well) Creativity: copyrights, patents, collaboration, citizen journalism, media, DRM, open access, FOI, public licensing, policy reform, education, etc… Human Rights: security, data protection, surveillance, FOI, basic income, emigration, voting rights, drones, non-proliferation, dual use technology, encryption, anonymity, transparency, net neutrality, open data, egovernment, society, whistle blowing, political science, etc… Activism|Hacktivism: Future, innovation, liquid democracy, transhumanism, cyborgs, startups, vision, 3d-printing, crowdsourcing, big data, participation, pirate parties, artificial intelligence, globalization, space travel, social networks, freemanning, freehammond, hacktivism, activism, civil disobedience, hacker culture, cyberpunk, cypherpunk, wikileaks, surveillance, digital activism, etc..."
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    [# Via FB's Francisco George x Arif Yıldırım] Deadline July 18th 2014 "Call for Papers CALL FOR SUBMISSIONS We are looking for session submissions from Pirates, NGOs and Academia to following tracks: (other topics are allowed as well) Creativity: copyrights, patents, collaboration, citizen journalism, media, DRM, open access, FOI, public licensing, policy reform, education, etc… Human Rights: security, data protection, surveillance, FOI, basic income, emigration, voting rights, drones, non-proliferation, dual use technology, encryption, anonymity, transparency, net neutrality, open data, egovernment, society, whistle blowing, political science, etc… Activism|Hacktivism: Future, innovation, liquid democracy, transhumanism, cyborgs, startups, vision, 3d-printing, crowdsourcing, big data, participation, pirate parties, artificial intelligence, globalization, space travel, social networks, freemanning, freehammond, hacktivism, activism, civil disobedience, hacker culture, cyberpunk, cypherpunk, wikileaks, surveillance, digital activism, etc..."
Gonzalo San Gil, PhD.

CUPS 2.1.0 Officially Released with Support for 3D Printers, IPP Everywhere, More - Sof... - 0 views

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    "Now available for GNU/Linux and Mac OS X operating systems The CUPS (Common UNIX Printing System) open-source and cross-platform printing system for GNU/Linux and Mac OS X operating systems reached version 2.1 after being in development for approximately three months."
Gonzalo San Gil, PhD.

Online Ad Spend Surpasses Newspapers - eMarketer - 0 views

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    *This is The Modern Change of Media and Marketing Paradigms, something that other Businesses (The Audiovisual and The Music Ones, for example) refuse to understand... [ 2010 will mark the first time marketers put more money into online advertising than newspapers, eMarketer estimates. Total newspaper spending, including advertising in print and online editions, will fall to $25.7 billion in 2010, a decline of 6.6%. Spending on print newspapers alone will fall more steeply to $22.8 billion. Meanwhile, a rise of 13.9% will push US online ad spending up to $25.8 billion by year's end. ... ]
Gonzalo San Gil, PhD.

The Assault on New and Alternative Media | The Fifth Column - 1 views

    • Gonzalo San Gil, PhD.
       
      [# ! Via,Thhnx x #Share,, Donnamae Bowering's FB.]
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    by Eric Scott Pickard * November 30, 2015 640px-Typing_computer_screen_reflection "Typing computer screen reflection" by Almonroth Youngstown, OH (TFC) -The Internet has often been likened to the printing press; a new technology that revolutionized communication and the freedom of information. But like the printing press,
Alexandra IcecreamApps

How to Convert JPG to Word - Icecream Tech Digest - 0 views

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    Keeping documents printed out on paper is a common way of storing them. However, if you need to somehow edit them, obviously you will need to transfer them into digital form. The best option here is to scan them and … Continue reading →
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    Keeping documents printed out on paper is a common way of storing them. However, if you need to somehow edit them, obviously you will need to transfer them into digital form. The best option here is to scan them and … Continue reading →
Paul Merrell

HTML presentation markup deprecated - 0 views

  • Prior to CSS, nearly all of the presentational attributes of HTML documents were contained within the HTML markup; all font colors, background styles, element alignments, borders and sizes had to be explicitly described, often repeatedly, within the HTML. CSS allows authors to move much of that information to a separate stylesheet resulting in considerably simpler HTML markup. Headings (h1 elements), sub-headings (h2), sub-sub-headings (h3), etc., are defined structurally using HTML. In print and on the screen, choice of font, size, color and emphasis for these elements is presentational. Prior to CSS, document authors who wanted to assign such typographic characteristics to, say, all h2 headings had to use the HTML font and other presentational elements for each occurrence of that heading type. The additional presentational markup in the HTML made documents more complex, and generally more difficult to maintain. In CSS, presentation is separated from structure. In print, CSS can define color, font, text alignment, size, borders, spacing, layout and many other typographic characteristics. It can do so independently for on-screen and printed views. CSS also defines non-visual styles such as the speed and emphasis with which text is read out by aural text readers. The W3C now considers the advantages of CSS for defining all aspects of the presentation of HTML pages to be superior to other methods. It has therefore deprecated the use of all the original presentational HTML markup.
Gary Edwards

A List Apart: Articles: Printing a Book with CSS: Boom! - 0 views

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    HTML is the dominant document format on the web and CSS is used to style most HTML pages. But, are they suitable for off-screen use? Can CSS be used for serious print jobs? To find out, we decided to take the ultimate challenge: to produce the next edition of our book directly from HTML and CSS files. In this article we sketch our solution and quote from the style sheet used. Towards the end we describe the book microformat (boom!) we developed in the process.
Gonzalo San Gil, PhD.

Experts worry governments, 'commercial pressures' will undermine online freedom | PCWorld - 0 views

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    "Nick Mediati @dtnick Jul 5, 2014 1:32 PM e-mail print Internet experts hope the Internet has plenty of good days ahead of it, but are still worried that various factors will put a damper on the open Internet we know today. That's the takeaway of a new study from the Pew Research Center, which polled 1400 experts to gauge their views on the future of online freedom. "
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    "Nick Mediati @dtnick Jul 5, 2014 1:32 PM e-mail print Internet experts hope the Internet has plenty of good days ahead of it, but are still worried that various factors will put a damper on the open Internet we know today. That's the takeaway of a new study from the Pew Research Center, which polled 1400 experts to gauge their views on the future of online freedom. "
Gonzalo San Gil, PhD.

Is Biometrics Technology Safe? - 0 views

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    "Biometrics is a step forward, but it increases risks. What happens when the digital code for a fingerprint, iris scan, voice print or facial geometry is hacked?"
Gonzalo San Gil, PhD.

Ownership Chart: The Big Six | Free Press - 2 views

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    [Ownership Chart: The Big Six The U.S. media landscape is dominated by massive corporations that, through a history of mergers and acquisitions, have concentrated their control over what we see, hear and read. In many cases, these giant companies are vertically integrated, controlling everything from initial production to final distribution. In the interactive charts below we reveal who owns what. Click here to learn more about our campaign to stop big media and to support local ownership, diverse voices, and truly competitive media markets that serve the public interest. Select a chart: The Big Six Cable TV Print Telecom Radio ...]
Gonzalo San Gil, PhD.

Statute of Anne - Wikipedia, the free encyclopedia - 0 views

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    "The Statute of Anne (c.19), an act of the Parliament of Great Britain, was the first statute to provide for copyright regulated by the government and courts, rather than by private parties. Prior to the statute's enactment in 1710, copying restrictions were authorized by the Licensing Act of 1662. These restrictions were enforced by the Stationers' Company, a guild of printers given the exclusive power to print-and the responsibility to censor-literary works. The censorship administered under the Licensing Act led to public protest; as the act had to be renewed at two-year intervals, authors and others sought to prevent its reauthorisation.[1] In 1694, Parliament refused to renew the Licensing Act, ending the Stationers' monopoly and press restrictions.[2]"
Gonzalo San Gil, PhD.

Free VPN - Free download and software reviews - CNET Download.com - 1 views

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    "CNET Editors' review by: CNET staff on August 20, 2012 A VPN is a virtual private network, an isolated subset of the Internet that allows for much greater security and privacy without sacrificing the Internet's ability to connect far-flung PCs and users together. VPNs have lots of uses, such as telecommuting into a corporate network, secure collaboration with others -- even on the other side of the world -- and private browsing. With a VPN, you can surf the Web anonymously and securely, leaving no traces. Free VPN from VPN Master is an easy-to-use VPN tool for Windows. Free VPN comes with more than 1,400 minutes of free access on VPN Master's network. After that, you can opt for an inexpensive monthly plan, if you'd like. We looked around for some sort of limitations or fine print, but it appears that your free minutes start when you start using Free VPN and end when they run out."
Gonzalo San Gil, PhD.

The Net vs. The Power of Narratives | TorrentFreak - 1 views

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    " By Rick Falkvinge on April 29, 2012 C: 76 Opinion The net changes the world's power structures in a much more fundamental way than changing the way a few groups of entrepreneurs are able to make money. The net is the greatest equalizer that humankind has ever invented. It is either the greatest invention since the printing press, or the greatest invention since written language. The battles we see are not a result of loss of money; they are caused by a loss of the power of narratives."
catchmenupur

Are the Cell Phones a Newspaper? - 0 views

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    What is it? The idea of the electronic office has been with us since Invoice Gateways was in short trousers, but no matter how innovative your OS or your use of electronic information instead of prints might be, they're of no help once you leave your table.
Gary Edwards

WordPress › GroupDocs Word,Excel,Powerpoint,PDF Viewer « WordPress Plugins - 0 views

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    "GroupDocs Viewer is an online document viewer that lets you read documents in your browser, regardless of whether you have the software that they were created in. You can view many types to word processing documents (DOC, DOCX, TXT, RTF, ODT), presentations (PPT, PPTX), spreadsheets (XLS, XLSX), portable files (PDF), and image files (JPG, BMP, GIF, TIFF). For each file, you get a high-fidelity rendering, showing the document just as it would if you opened it in the software it was created in. Layout and formatting is retained and you see an exact copy of the original. GroupDocs Viewer lets you really read the document. You can search text documents, copy text and even embed the document - GroupDocs Viewer and all - in a web page. You can print or download the file from GroupDocs Viewer if you need to work with it offline."
Paul Merrell

Sony Reader Opens to EPUB Format for Digital Books - OhmyNews International - 0 views

  • Sony Reader Opens to EPUB Format for Digital Books Adobe offers Digital Editions as display for portable documents William Pollard (will789)     Email Article  Print Article  Published 2008-07-28 16:36 (KST)    A new version of the Sony Reader for digital books will support the EPUB format and the Digital Editions software from Adobe. The PRS-505 will be available with new software in the United States during August. Current owners can update through a download.
  • A new version of the Sony Reader for digital books will support the EPUB format and the Digital Editions software from Adobe. The PRS-505 will be available with new software in the United States during August. Current owners can update through a download.
  • Version 1.74 is still regarded as experimental and there is still no easy way to create EPUB files from an Open Document in Open Office. Discussion on the DocBook Wiki suggests that not all DocBook features are currently supported and the installation for Open Office may not be easy enough for most people to follow.
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    Most quality online stores. Know whether you are a trusted online retailer in the world. Whatever we can buy very good quality. and do not hesitate. Everything is very high quality. Including clothes, accessories, bags, cups. Highly recommended. This is one of the trusted online store in the world. View now www.retrostyler.com
Paul Merrell

Office Business Applications for Store Operations - 0 views

  • Service orientation addresses these challenges by centering on rapidly evolving XML and Web services standards that are revolutionizing how developers compose systems and integrate them over distributed networks. No longer are developers forced to make do with rigid and proprietary languages and object models that used to be the norm before service orientation came into play. The emergence of this new methodology is helping to develop new approaches specifically for Web-based distributed computing. This revolution is transforming the business by integrating disparate systems to establish a real-time enterprise. Making information available where it is needed to simplify merchandising processes requires a methodology that is based on loosely coupled integration between various in-store and back-end applications. This demand makes it critical for an architecture that is based on service orientation for integration between disparate applications. In addition, surfacing information at the right place requires the ability to compose dynamic applications using an array of underlying services. The Office Business Applications platform provides this ability to create composite applications, such as dashboards for the store, regional, and corporate managers.
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    Summary: Changing market conditions require agility in business applications. Service orientation answers the challenge by centering on XML and Web services standards that revolutionize how developers compose systems and integrate them over distributed networks. Once integrated, how is the information presented to the decision makers? (36 printed pages)
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    Most quality online stores. Know whether you are a trusted online retailer in the world. Whatever we can buy very good quality. and do not hesitate. Everything is very high quality. Including clothes, accessories, bags, cups. Highly recommended. This is one of the trusted online store in the world. View now www.retrostyler.com
Gary Edwards

The Age of Visual Computing and the Open Web: Charlie Rose interview with Jen-Hsun Huan... - 0 views

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    This is a must see discussion!!!! Especially if you've seen the Ted Nelson series of talks at Google. (Ted Nelson invented Hypertext, and continues to promote the XANDU view of highly graphical and interactive computing based on an advanced "digital" document model). Jen-Hsu fully embraces the sugarplum document model, dissing i a gentle way the legacy of x86 text-number processing designed to replace typewritters and calculators to produce the same printed document.

    Nvidia has also announced an ION based board optimized for the Google Android Mobile-Telecommunications OS!
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