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Gary Edwards

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

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    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
Gary Edwards

J.C. Herz Ringling College Commencement Speech: Harvesting the Creative Life - 0 views

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    Wow!  excellent advice, top to bottom.  Very well thought out flow of wisdom. excerpt: The important work that you build your reputation on - you can't just Google it. You don't cut and paste it from Wikipedia. You roll up your sleeves, and bring all your creativity and meaningful skills to bear on the problem of building something.   This is what the world requires - this is what the world rewards. Not just calling yourself creative, but understanding how to exercise your creative powers to some end, to bring your vision and skills together in a meaningful way. This is a powerful thing to be able to do. It gives you tremendous value in a society where attention is currency - being able to capture people's imaginations is the scarcest kind of power in a fractured culture. Creating work that transports and transcends is one of the few ways to create sustainable value in a disposable society. What you do, if you do it well, is never going to be a commodity. Vision, magic, delight. Heart-rocking spectacle. Pulse-pounding action. These things don't get outsourced to some cubicle drone in the developing world.   You are an influential group of people, and today is an important moment, as you set forth to become the chief stewards of your gifts. Because, this is what it means to be a creative professional: figuring out how to be the best steward of your gifts, so that your power to create grows and deepens meaningfully over time. So that your edges stay sharp, and your light stays bright. The life you've chosen is not one that simply requires clocking in and clocking out. You've got to bring your soul to it every day. You've got to be on your game.   That takes discipline. And it takes awareness - of how you're spending your time, and of how what you're doing affects your capability and your capacity. You are going to have to ask yourself, at every turn: is this project making me smarter, or making me stupider. Is this job stoking my fire,
¡%@&# Dizzywizard

The Need for a Reverse Creative Commons | PlagiarismToday - 0 views

  • A reverse CC system could fix that by having the user pick out the license that they need/want and then emailing it in the form of a permission request to the rightsholder via email. All the user would have to do is pick the rights they need, enter some information about the work, and then send it. This could also be used in situations where the copyright holder has a CC license but the user needs more permissions for a one-time use.
  • Under your proposed model, it might potentially make it easier for someone like me to write to someone who has inquired about use, or already violated copyrights with a link and a friendly "Here is where you can go to submit a permission request", without having to educate folks top to bottom on how it's done and why. (I've had people downright argue that they have every right to copy whatever they want because hey, it's online, and they can highlight, copy, and paste with the best of 'em!)Permissions are important, cumbersome, time consuming, and yes, important. With so much sharing online, it makes sense for artists/creatives to be proactive in helping to sculpt the online "culture" in a way that facilitates the fair sharing of ideas and information in a way that does not take from each artist's efforts or goals.
Gary Edwards

Op-Ed Contributor - Microsoft's Creative Destruction - NYTimes.com - 0 views

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    Dick Brass, former VP at Microsoft (1997-2004) unloads.  He describes how legacy product groups, like the Windows OS and MSOffice groups, conspire to defeat smaller groups focused on emerging and innovative solutions.  Excellent read. excerpt:  Internal competition is common at great companies. It can be wisely encouraged to force ideas to compete. The problem comes when the competition becomes uncontrolled and destructive. At Microsoft, it has created a dysfunctional corporate culture in which the big established groups are allowed to prey upon emerging teams, belittle their efforts, compete unfairly against them for resources, and over time hector them out of existence. It's not an accident that almost all the executives in charge of Microsoft's music, e-books, phone, online, search and tablet efforts over the past decade have left. As a result, while the company has had a truly amazing past and an enviably prosperous present, unless it regains its creative spark, it's an open question whether it has much of a future.
ma0477758

try it now free demo FACEBOOK AUTOPILOT - 0 views

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    Facebook autopilot is a creative software, which can share on Facebook groups and comments just like a real human
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    is a creative software, which can share on Facebook groups and comments just like a real human no api
Abbygail Lopez

Hiring The Most Creative Photographer - 1 views

When I started with my landscaping business, I had a hard time looking for photographers who can perfectly capture my beautiful garden and other landscape materials to be displayed in my website. G...

started by Abbygail Lopez on 28 Nov 12 no follow-up yet
Gary Edwards

The GPL Does Not Depend on the Copyrightability of APIs | Public Knowledge - 0 views

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    Excellent legal piece explaining the options and methods of how software programs use licensed and copyrighted third party libraries through an API. Finally, some clear thinking about Google Android and the Oracle Java Law Suit.
    excerpt: Another option for a developer is to do what Google did when it created Android, and create replacement code libraries that are compatible with the existing code libraries, but which are new copyrighted works. Being "compatible" in this context means that the new libraries are called in the same way that the old libraries are--that is, using the same APIs. But the actual copyrighted code that is being called is a new work. As long as the new developer didn't actually copy code from the original libraries, the new libraries are not infringing. It does not infringe on the copyright of a piece of software to create a new piece of software that works the same way; copyright protects the actual expression (lines of code) but not the functionality of a program. The functionality of a program is protected by patent, or not at all.
    In the Oracle/Google case, no one is arguing that code libraries themselves are not copyrightable. Of course they are and this is why the Google/Oracle dispute has no bearing on the enforceability of the GPL. Instead, the argument is about whether the method of using a code library, the APIs, is subject to a copyright that is independent of the copyright of the code itself. If the argument that APIs are not copyrightable prevails, programs that are created by statically-linking GPL'd code libraries will still be considered derivative works of the code libraries and will still have to be released under the GPL.
    Though irrelevant to the enforceability of the GPL, the Oracle/Google dispute is still interesting. Oracle is claiming that Google, by creating compatible, replacement code libraries that are "called" in the same way as Oracle's code libraries (that is, using the same APIs), infringed
Gary Edwards

The Terrible Management Technique That Cost Microsoft Its Creativity - Forbes - 2 views

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    Summary of a very interesting Vanity Fair article (linked) describing why the failure of Microsoft is certain.  A second Forbes article titled,  "That's All Folks:  The Writing is on the Wall at Microsoft", compliments the Vanity Fair piece.  Good stuff.  Hasta la bye-bye Microsoft. Nice knowin ya. excerpt: Vanity Fair has an article in its August issue that tells the story of how Microsoft "since 2000 . . . has fallen flat in every area it entered: e-books, music, search, social networking, etc., etc." According to a summary available online, the article finds a devastatingly destructive management technique at the heart of Microsoft's problems.
Gary Edwards

Cloud Pricing: Amazon, Microsoft Keep Cutting - Cloud-computing - Infrastructure as a S... - 0 views

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    It's game on between Amazon AWS and Microsoft Azure.  Interesting price configurations indicate that Cloud Computing is now a commodity.  One point in the article worth noting is that Cloud applications and services begin as "Cloud" apps - not desktop or client/server.  Bad news for Microsoft..... Excerpt: Microsoft, with its flagship operating system and rich line of related tools and applications, is watching the Windows developer community migrate to the cloud, but often not to its Azure cloud. AWS and Rackspace have offered cheaper raw online computing power. VMware-backed Cloud Foundry offers a development platform to build apps that can deploy on a number of vendors' clouds, and VMware recently made Cloud Foundry more Windows-friendly. Hewlett-Packard, which is just entering the cloud infrastructure market, is emphasizing its own development platform. To keep cloud app developers engaged, Microsoft must put the right resources on Azure's platform-as-a-service--developer tools, database services, and messaging services--but also make it affordable. Today's most creative new software projects often begin in a cloud, and a big reason is to keep startup costs low. Cloud computing is critical to the future of the Windows franchise.
Gary Edwards

WE'RE BLOWN AWAY: This Startup Could Literally Change The Entire Software Industry - Bu... - 0 views

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    "Startup Numecent has come out of stealth mode today with some of the most impressive enterprise technology we've seen in a decade. Plus the company is interesting for other reasons, like its business model and its founder. Numecent offers something it calls "cloud paging" and, if successful, it could be a game-changer for enterprise software, video gaming, and smartphone apps. Red Hat thinks so. It has already partnered with the company to help it offer Windows software to Linux users. "Cloud paging" instantly "cloudifies" any software, even an operating system like Windows itself, says founder and CEO Osman Kent. It lets any software, with no modification, be delivered from the cloud and run as fast or faster than if the app was on your desktop. Lots of so-called "desktop virtualization" services work fast. But cloud-paging can even operate the cloud software if the PC gets disconnected from the network or Internet. It can also turn a smartphone into a server. That means a bunch of devices like tablets can run the software -- like a game -- off of the smartphone. Imagine showing up to a party and letting all your friends play the latest version of Halo from your phone. That's crazy cool. Cloudpaging can do all this because it doesn't use "pixel-streaming" technology like other virtualization tech. Instead it temporarily downloads bits of the application itself (instructions) and runs them on the device. It can almost magically predict which parts of the app the user will need, and downloads only those parts. For business owners, that's not even the best part. It also helps enterprises sidestep extra licensing fees associated with the cloud. For instance, Microsoft licenses its software by the device, not by the user, and, in many cases, charges a "Virtual Desktop Access" fee for each device using a virtual version of Windows. (For a bit of light reading, check out the Microsoft virtual desktop licensing white paper: PDF) Cloudpaging has what Kent calls "f
Gary Edwards

Google News - 0 views

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    Prepare to be blown away. I viewed a demo of Numecent today and then did some research. There is no doubt in my mind that this is the end of the shrink wrapped- Microsoft business model. It's also perhaps the end of software application design and construction as we know it. Mobile apps in particular will get blasted by the Numecent "Cloud - Paging" concept. Extraordinary stuff. I'll leave a few useful links on Diigo "Open Web". "Numecent, a company that has a new kind of cloud computing technology that could potentially completely reorganize the way software is delivered and handled - upending the business as we know it - has another big feather in its cap. The company is showing how enterprises can use this technology to instantly put all of their enterprise software in the cloud, without renegotiating contracts and licenses with their software vendors. It signed $3 billion engineering construction company Parsons as a customer. Parsons is using Numecent's tech to deliver 4 million huge computer-aided design (CAD) files to its nearly 12,000 employees around the world. CAD drawings are bigger than video files and they can only be opened and edited by specific CAD apps like AutoCAD. Numecent offers a tech called "cloud paging" which instantly "cloudifies" any Windows app. Instead of being installed on a PC, the enterprise setup can deliver the app over the cloud. Unlike similar cloud technologies (called virtualization), this makes the app run faster and continue working even when the Internet connection goes down. "It's offers a 95% reduction in download times and 95% in download network usage," CEO Osman Kent told Business Insider. "It makes 8G of memory work like 800G." It also lets enterprises check in and check out software, like a library book, so more PCs can legally share software without violating licensing terms, saving money on software license fees, Kent says. Parson is using it to let employees share over 700 huge applications such as Au
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    Sounds like Microsoft must-buy-or-kill technology.
Gary Edwards

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

Target Survey - the Open Siddur Project Development Wiki - 0 views

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    The ultimate goals are to have a computer-viewable display format (XHTML) and at least one printable format. We may also want a post-processing editable format. Our farthest target as yet is XHTML, styled by CSS. For a printed format, one expects a complete target to be able to produce a document that has features which one would expect of any Siddur: page numbers, table of contents, footnotes, side notes, header/page title, etc. XHTML originated as a computer-display format, not a publishing format. Even when combined with CSS 2.1, it does not support some of the features above (with some hacking, side notes, a static header/footer, and page numbers are possible, but it is still missing vital features). CSS3 is more publishing friendly, when implemented, will make life much easier. Until then, we will have to be a bit more creative. The following is a list of software libraries and formats that can help us increase the range of formats that we can target. XSLT or Java are the preferred languages, since the rest of our chain is in XSLT, and driven by Saxon, which is written in Java, allowing us to bundle the entire chain in a portable program, which can be distributed ( with the added bonus of being able to be distributed within a web browser as an applet ).
Gary Edwards

Introducing CloudStack - 0 views

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    CloudStack Manifesto Before getting into the framework specifics, it would be worthwhile to cover some of the design principles we had in mind while we were building CloudStack: CloudStack brings together the best of the web and the desktop: We strongly believe in the convergence of the desktop and the web and will continually strive to expose more services that bring out the best from both. CloudStack enables rapid application development and deployment: Out of the box, CloudStack provides a fully brand able and deployable shell application that can be used as a starting point to jumpstart application development. CloudStack also provides a scalable deployment environment for hosting your applications. CloudStack leverages existing web technologies: We built the CloudStack P2WebServer container over the J2EE compliant Jetty web server. As a result, CloudStack applications are built using standard web technologies like AJAX, HTML, JavaScript, Flash, Flex, etc. CloudStack does not reinvent the wheel: We strive to reuse as much as possible from other open source projects and standards. By creatively stringing together seemingly disparate pieces, like P2P and HTTP, it?fs amazing to create something that's really much greater than the sum of the parts. CloudStack does aim to simplify existing technologies: We will abstract and simplify existing interfaces if needed. For example, we built simpler abstractions for JXTA (P2P) and Jena (RDF Store). CloudStack encourages HTML-based interfaces: We believe that the web browser is the most portable desktop application container with HTML being the lingua franca of the web. Rather than writing a native widget interface for the local desktop application and another web-based interface for the remote view, we encourage writing a single interface that can be reused across both local and remote views. HTML based interfaces are inherently cross-platform and provide good decoupling of design from code (versus having the UI as compiled
aa8538722

Download | Facebook AutopilotFacebook Autopilot - 0 views

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    Facebook autopilot is a creative software, which can share on Facebook groups and comments just like a real human
mikhail-miguel

ChatGPT Android App (official) com.openai.chatgpt - 0 views

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    This official app is free, syncs your history across devices, and brings you the newest model improvements from OpenAI. With ChatGPT in your pocket, you'll find: Instant answers; Tailored advice; Creative inspiration; Professional input; Learning opportunities.
Gary Edwards

35 top free WordPress themes for designers | Web design | Creative Bloq - 0 views

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    "Free themes are a great way to get a blog or website off the ground. You might want to start writing about a topic but don't want to invest the money in a custom site design on top of hosting and a domain. And once your site is up and running, there's nothing to stop you dissecting them, building on top of them and learning from them. In this article we've selected some of the very best WordPress themes for you to use in your projects. Each is not only free to use and open to the public but also offers something special and unique. For all our WordPress articles, click here"
Gary Edwards

65 amazing examples of HTML5 | Web design | Creative Bloq - 0 views

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    65 amazing examples of HTML5 in action, and talk to the designers behind them to find out how they were made. HTML5 is the latest version of HTML - the markup language used to display web pages. Although it's technically still in development, it's very much ready to use today, to build websites and web apps." Also includes a complete index of  HTML5 resources
pranetorweb

UX Designing Services in Hyderabad - 0 views

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