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Gary Edwards

Hubspot Presentation On Company Culture - Business Insider - 0 views

www.businessinsider.com/deck-on-company-culture-2013-3

hubspot presentations business-culture

shared by Gary Edwards on 22 Mar 13 - No Cached
  • Gary Edwards on 22 Mar 13
     
    Hubspot has posted a slide deck stating their "Cultural Principles".  Very interesting and thought provoking piece.  I enjoyed the surprisingly quick presentation.  Easy to understand. but make no mistake;  some serious thought and effort went into this. "The workplace is changing at rapid pace - it's mobile, decentralized, and flexible. "The biggest problem most companies have is that they operate much like a company from 50 years ago - despite the fact that the world has changed," says HubSpot CTO Dharmesh Shah. "The second biggest problem is that they don't think of their culture as being for the people. Culture is not about perks and parties. It's about what you believe and how you behave." People work for a purpose, not a pension The 9-5 workday is dead So is the idea of staying at one company forever And so it's not just a manifesto, but becomes part of a company, and everyone participates in creating and changing it.
Gary Edwards

'Returnees' dominate Chinese startup culture - Tech News and Analysis - 0 views

gigaom.com/...minate-chinese-startup-culture

VC China-VC Sursen

shared by Gary Edwards on 10 Jun 11 - No Cached
  • Gary Edwards on 10 Jun 11
     
    excerpt: In China, the red-hot tech scene seems dominated by a small group of entrepreneurs who paid their dues in Silicon Valley before returning home to create successful Internet and software startups. Aside from finding fame and fortune, these "returnees" are also laying the foundation for a startup culture that will allow grassroots entrepreneurs to flourish as well. Returnees - Chinese nationals who studied or worked the U.S. - head up just 3 percent of all tech companies in China, yet they represent nearly 70 percent of all startups that go public in the U.S. market (still the largest measure of success in the industry), according to an internal study by Palo Alto, Calif.-based venture capital firm GSR Ventures, which deals exclusively in China. The firm also found startups created by returnees were much likelier to become financially successful and hire more employees than startups founded by Chinese entrepreneurs who never worked in the U.S. Part of that may be cultural: a culture Jack Jia, a partner at GSR sees changing, albeit slowly. he still sees a "drastic" disparity between startups founded by home-grown entrepreneurs and their returnee counterparts during pitching sessions and business plan competitions all across China. Thus, he rarely funds companies headed up by Chinese engineers without managerial-level experience at tech companies in the U.S., even though he would like to encourage the growth of Chinese entrepreneurs who have stayed at home. "Most have no clue what they are doing. The basic expertise, the passion and experience is often lacking," he said. "And it's not that they don't have the same talent or ability, it's just they haven't been exposed to the same things as their American counterparts."
Gary Edwards

Box.net Gets 48 million more to build enterprise platform | ZDNet - 0 views

www.zdnet.com/...1886

box.net sursen cloud-computing cloud-DMS

shared by Gary Edwards on 24 Feb 11 - No Cached
  • Gary Edwards on 24 Feb 11
     
    In taking this next step Box are closing some acquisition doors in electing to attempt to become a core piece of enterprise infrastructure rather than be swallowed up into someone else's larger offering. It's a brave and interesting move that will see them attempting to penetrate on-premise document and project management opportunities that are currently dominated by entrenched vendors, notably Sharepoint. Box's collaboration and work flow tools are currently adequate but unremarkable, and while the user interfaces are well done and unintimidating, they are now attempting to enter the areas of business steeped in document versioning and email inefficiencies that have been so lucrative to Microsoft, who can't be blamed for not cannibalizing their licensing golden geese of Office, Sharepoint and Exchange yet, and probably made 48 million as you read this sentence. Addressing the inefficiencies of these old ways of working are at the core of the modern collaborative enterprise, and it is primarily focusing on business purpose and performance from participants that ultimately unlocks the greater efficiencies possible with 2.0 technologies. The challenge for Box will be to avoid becoming a larger document and content graveyard while providing greater business agility, and this requires some cultural shifts in their offerings to target customers.
Gary Edwards

XML Production Workflows? Start with the Web and XHTML - 1 views

quod.lib.umich.edu/...n-workflows-start-with-the-web

OpenWeb XML XHTML-CSS HTML5-CSS3-JavaScript IDML

shared by Gary Edwards on 01 Nov 13 - No Cached
  • 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?
  • ...44 more annotations...
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • Using the Web as a Production Platform
  • Gary Edwards on 01 Nov 13
     
    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. As an after thought, i was thinking that an alternative title to this article might have been, "Working with Web as the Center of Everything".
Gary Edwards

Is Microsoft On The Verge Of A Sudden Collapse Predicted By Catastrophe Theory? - Forbes - 1 views

www.forbes.com/...redicted-by-catastrophe-theory

Microsoft Microsoft-Death-Spiral

shared by Gary Edwards on 27 Nov 12 - No Cached
  • Gary Edwards on 27 Nov 12
     
    Forbes magazine has a doom and gloom Microsoft article that "ends on a note of doom".  They lampoon Windows 8 using the reviews of other bloggers like Charlie Demerjian, "Microsoft has failed". http://goo.gl/H4mZc The end of Microsoft though comes from the inability of Microsoft to change course.  In short, Microsoft has fallen into a death spiral consistent with Catastrophe theory (http://goo.gl/6CWwY). No comment or mention of Microsoft Cloud efforts:  Azure, Live.com, or SkyDrive. excerpt: In the end, the death spiral for Microsoft is in full effect, and management is expending a lot of effort to speed it up. Anyone who dares point out that the entire system is collapsing, or worse yet suggests an alternative, gets Sinofsky'd. Or was it Guggenheimer'd? In any case, Microsoft is unwilling to change, and that is very clear. Even if they wanted to, they are culturally far beyond the point of being able to. What was a slow bleed of marketshare is now gushing, and management is clueless, intransigent, and myopic. Game over, the thrashing will continue for a bit, but it won't change the outcome. Microsoft has failed. I hope this isn't true. Microsoft has been a stabilizing force in the market and many users are very attached to its products. For the first time, however, businesses can look to Google and to Apple and see plausible, battle-tested alternatives to the products they have used from Microsoft-for much less money. And in a bizarre way, Microsofts spasm of innovation has made the company now a destabilizing factor for IT departments and Google Docs is looking an awful lot like the old guard. The big question is how fast Microsoft might collapse if businesses began to defect en masse. Like other phenomena of global instability, extreme change seems to come quicker now. For Microsoft, the window is closing fast."
Gary Edwards

The Future of Collaborative Networks : Aaron Fulkerson of MindTouch - 0 views

ostatic.com/...ture-of-collaborative-networks

mindtouch aaron-fulkerson collaborative-networks Collaborative-computing

shared by Gary Edwards on 24 Jun 09 - Cached
  • Gary Edwards on 24 Jun 09
     
    MindTouch was by far and away the hottest property at the 2009 Web 2.0 Conference. And for good reason. They have figured out how to tap into the productivity value of enterprise collaborative networks. Most their underlying stuff is based on REST based data objects and services, but they also allow for proprietary data bindings. The key to MindTouch seemd to be the easy to fall into and use collaborative interface: imagine a workgroup project centered around a Web page filled with data objects, graphics and content, with each object also having a collabortaive conversation attached to it. Sounds complicated, but that's where the magic of MindTouch kicks in. It's simple. One the things that most impressed me was an interactive graph placed on one of the wiki project pages. The graph was being fed data from a local excel spreadsheet, and could be interacted with in real time. It was simple to change from a pie chart to a bar graph and so on. It was also possible to interact with the data itself and create what-if scenario's. Great stuff. With considerable persistence though, i was able to discover from Aaron that this interactivity and graphical richness was due to a Silverlight plug-in! From the article: "..... Rather than focusing on socialization, one to one interactions and individual enrichment, businesses must be concerned with creating an information fabric within their organizations. This information fabric is a federation of content from the multiplicity of data and application silos utilized on a daily basis; such as, ERP, CRM, file servers, email, databases, web-services infrastructures, etc. When you make this information fabric easy to edit between groups of individuals in a dynamic, secure, governed and real-time manner, it creates a Collaborative Network." "This is very different from social networks or social software, which is focused entirely on enabling conversations. Collaborative Networks are focused on groups accessing and organiz
Gary Edwards

That's All Folks: Why the Writing Is on the Wall at Microsoft - Forbes - 1 views

www.forbes.com/...ng-is-on-the-wall-at-microsoft

Microsoft

shared by Gary Edwards on 05 Jul 12 - No Cached
  • Gary Edwards on 05 Jul 12
     
    Control vs. Creativity.  As the ulitmate control freak, Ballmer was guanteed to crush the life out of Microsoft's most creative individuals and teams.  Gates was focused on Windows and MSOffice, and Ballmer on control.  That one-two punch made certain that Microsoft would not be a player in the next great wave of computing; The Cloud.   excerpt: This is yet another example of what I like to call the Wile E. Coyote syndrome. Like the unfortunate character in the old Warner Bros. cartoons, Microsoft now seems to be a company that has long since run off the cliff but, with legs spinning for all they are worth, doesn't know yet that it is ready to drop. Yet drop it most certainly will. Microsoft Win8 Tablet Is NOT a Game Changer Adam Hartung Contributor Snapshot: Steve Ballmer Follow (93) #44 Billionaires IDC Analyst: Microsoft's Surface Sizzle Needs Win8 Steak Daniel Nye Griffiths Contributor To understand how this happens, take a look at the work of Arnold J. Toynbee, a historian who studied the rise and fall of civilizations. He argued that a civilization flourishes when it motivates insiders and attracts outsiders with its creative dynamism and culture. The civilization breaks down when its leadership loses this creative capacity and gives way to, or transforms itself into, a dominant minority. When this happens, the driver of the civilization becomes control, not attraction. And it's precisely this switch from attraction to control that is the source of the breakdown. Interestingly, Toynbee says that the consequences may not be immediately apparent. A civilization can keep up momentum because the controls it puts in place generate some short-term efficiency. But eventually it will run its course and collapse, because no amount of control can replace the loss of collective creativity. Observe this in the corporate world by looking at the example of General Motors. G.M.'s 2009 bankruptcy came at the end of a long decline dating back to the early 197
Paul Merrell

An Important Kindle request - 0 views

www.readersunited.com

ebooks Amazon Hachette price-war

shared by Paul Merrell on 09 Aug 14 - No Cached
  • A Message from the Amazon Books Team Dear Readers, Just ahead of World War II, there was a radical invention that shook the foundations of book publishing. It was the paperback book. This was a time when movie tickets cost 10 or 20 cents, and books cost $2.50. The new paperback cost 25 cents — it was ten times cheaper. Readers loved the paperback and millions of copies were sold in just the first year. With it being so inexpensive and with so many more people able to afford to buy and read books, you would think the literary establishment of the day would have celebrated the invention of the paperback, yes? Nope. Instead, they dug in and circled the wagons. They believed low cost paperbacks would destroy literary culture and harm the industry (not to mention their own bank accounts). Many bookstores refused to stock them, and the early paperback publishers had to use unconventional methods of distribution — places like newsstands and drugstores. The famous author George Orwell came out publicly and said about the new paperback format, if "publishers had any sense, they would combine against them and suppress them." Yes, George Orwell was suggesting collusion. Well… history doesn't repeat itself, but it does rhyme.
  • Fast forward to today, and it's the e-book's turn to be opposed by the literary establishment. Amazon and Hachette — a big US publisher and part of a $10 billion media conglomerate — are in the middle of a business dispute about e-books. We want lower e-book prices. Hachette does not. Many e-books are being released at $14.99 and even $19.99. That is unjustifiably high for an e-book. With an e-book, there's no printing, no over-printing, no need to forecast, no returns, no lost sales due to out of stock, no warehousing costs, no transportation costs, and there is no secondary market — e-books cannot be resold as used books. E-books can and should be less expensive. Perhaps channeling Orwell's decades old suggestion, Hachette has already been caught illegally colluding with its competitors to raise e-book prices. So far those parties have paid $166 million in penalties and restitution. Colluding with its competitors to raise prices wasn't only illegal, it was also highly disrespectful to Hachette's readers. The fact is many established incumbents in the industry have taken the position that lower e-book prices will "devalue books" and hurt "Arts and Letters." They're wrong. Just as paperbacks did not destroy book culture despite being ten times cheaper, neither will e-books. On the contrary, paperbacks ended up rejuvenating the book industry and making it stronger. The same will happen with e-books.
Paul Merrell

Why the Sony hack is unlikely to be the work of North Korea. | Marc's Security Ramblings - 0 views

marcrogers.org/...-to-be-the-work-of-north-korea

Sony-hack North-Korea false-flag FBI Obama

shared by Paul Merrell on 25 Dec 14 - No Cached
  • Everyone seems to be eager to pin the blame for the Sony hack on North Korea. However, I think it’s unlikely. Here’s why:1. The broken English looks deliberately bad and doesn’t exhibit any of the classic comprehension mistakes you actually expect to see in “Konglish”. i.e it reads to me like an English speaker pretending to be bad at writing English. 2. The fact that the code was written on a PC with Korean locale & language actually makes it less likely to be North Korea. Not least because they don’t speak traditional “Korean” in North Korea, they speak their own dialect and traditional Korean is forbidden. This is one of the key things that has made communication with North Korean refugees difficult. I would find the presence of Chinese far more plausible.
  • 3. It’s clear from the hard-coded paths and passwords in the malware that whoever wrote it had extensive knowledge of Sony’s internal architecture and access to key passwords. While it’s plausible that an attacker could have built up this knowledge over time and then used it to make the malware, Occam’s razor suggests the simpler explanation of an insider. It also fits with the pure revenge tact that this started out as. 4. Whoever did this is in it for revenge. The info and access they had could have easily been used to cash out, yet, instead, they are making every effort to burn Sony down. Just think what they could have done with passwords to all of Sony’s financial accounts? With the competitive intelligence in their business documents? From simple theft, to the sale of intellectual property, or even extortion – the attackers had many ways to become rich. Yet, instead, they chose to dump the data, rendering it useless. Likewise, I find it hard to believe that a “Nation State” which lives by propaganda would be so willing to just throw away such an unprecedented level of access to the beating heart of Hollywood itself.
  • 5. The attackers only latched onto “The Interview” after the media did – the film was never mentioned by GOP right at the start of their campaign. It was only after a few people started speculating in the media that this and the communication from DPRK “might be linked” that suddenly it became linked. I think the attackers both saw this as an opportunity for “lulz” and as a way to misdirect everyone into thinking it was a nation state. After all, if everyone believes it’s a nation state, then the criminal investigation will likely die.
  • ...4 more annotations...
  • 6. Whoever is doing this is VERY net and social media savvy. That, and the sophistication of the operation, do not match with the profile of DPRK up until now. Grugq did an excellent analysis of this aspect his findings are here – http://0paste.com/6875#md 7. Finally, blaming North Korea is the easy way out for a number of folks, including the security vendors and Sony management who are under the microscope for this. Let’s face it – most of today’s so-called “cutting edge” security defenses are either so specific, or so brittle, that they really don’t offer much meaningful protection against a sophisticated attacker or group of attackers.
  • 8. It probably also suits a number of political agendas to have something that justifies sabre-rattling at North Korea, which is why I’m not that surprised to see politicians starting to point their fingers at the DPRK also. 9. It’s clear from the leaked data that Sony has a culture which doesn’t take security very seriously. From plaintext password files, to using “password” as the password in business critical certificates, through to just the shear volume of aging unclassified yet highly sensitive data left out in the open. This isn’t a simple slip-up or a “weak link in the chain” – this is a serious organization-wide failure to implement anything like a reasonable security architecture.
  • The reality is, as things stand, Sony has little choice but to burn everything down and start again. Every password, every key, every certificate is tainted now and that’s a terrifying place for an organization to find itself. This hack should be used as the definitive lesson in why security matters and just how bad things can get if you don’t take it seriously. 10. Who do I think is behind this? My money is on a disgruntled (possibly ex) employee of Sony.
  • EDIT: This appears (at least in part) to be substantiated by a conversation the Verge had with one of the alleged hackers – http://www.theverge.com/2014/11/25/7281097/sony-pictures-hackers-say-they-want-equality-worked-with-staff-to-break-in Finally for an EXCELLENT blow by blow analysis of the breach and the events that followed, read the following post by my friends from Risk Based Security – https://www.riskbasedsecurity.com/2014/12/a-breakdown-and-analysis-of-the-december-2014-sony-hack EDIT: Also make sure you read my good friend Krypt3ia’s post on the hack – http://krypt3ia.wordpress.com/2014/12/18/sony-hack-winners-and-losers/
  • Paul Merrell on 25 Dec 14
     
    Seems that the FBI overlooked a few clues before it told Obama to go ahead and declare war against North Korea. 
Paul Merrell

FCC Turns Itself into a Deregulatory Agency - WhoWhatWhy - 0 views

whowhatwhy.org/...fcc-turns-deregulatory-agency

open web net-neutrality FCC regulations

shared by Paul Merrell on 05 Jun 17 - No Cached
  • Since taking office, President Donald Trump has wasted no time in proposing rollbacks to Obama-era federal regulations. So, it should come as no surprise that the Federal Communications Commission (FCC) voted last month to propose changes to current regulations on Internet service providers. Spearheaded by Ajit Pai — the Trump-appointed FCC chairman and former lawyer for Verizon — the 2-1 vote is the first step in dismantling the Open Internet Order. The lone FCC Democrat, Mignon Clyburn, was overruled by Pai and fellow commissioner Michael O’Reilly. The 2015 order classified broadband internet as a utility under Title II of the Communications Act of 1934. Opponents of the current state of net neutrality argue that the rules are archaic and place unnecessary — even harmful — restrictions on internet service providers (ISPs), leading to lack of innovation and investment. While it’s true that policies conceived in the 1930s could hardly anticipate the complexities of the modern Internet, a complete rollback of Title II protections would leave ISPs free to favor their own services and whichever company pays for upgraded service. Considering relaxed FEC rules on media ownership and lack of antitrust enforcement, some could argue that a rollback of net neutrality is even more toxic to innovation and affordable pricing. That is, fast lanes could be created for companies with deeper pockets, effectively giving them an advantage over companies and individuals who can’t pay extra. This approach effectively penalizes small businesses, nonprofits and innovative start-ups. Today’s Internet is so vast and so pervasive that it’s hard to grasp the impact that an abandonment of net neutrality would have on every aspect of our culture.
  • While the FCC’s proposed change will touch most Americans, net neutrality remains a mystifying concept to non-techies. To help our readers better understand the issue, we have compiled some videos that explain net neutrality and its importance. The FCC will be accepting comments from the public on their website until August 16, 2017.
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