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Assange Keeps Warning Of AI Censorship, And It's Time We Started Listening - 0 views

medium.com/...started-listening-e05d371ef120 AI Internet-censorship Google Twitter Facebook
shared by Paul Merrell on 19 Jan 18 - No Cached
  • Where power is not overtly totalitarian, wealthy elites have bought up all media, first in print, then radio, then television, and used it to advance narratives that are favorable to their interests. Not until humanity gained widespread access to the internet has our species had the ability to freely and easily share ideas and information on a large scale without regulation by the iron-fisted grip of power. This newfound ability arguably had a direct impact on the election for the most powerful elected office in the most powerful government in the world in 2016, as a leak publishing outlet combined with alternative and social media enabled ordinary Americans to tell one another their own stories about what they thought was going on in their country.This newly democratized narrative-generating power of the masses gave those in power an immense fright, and they’ve been working to restore the old order of power controlling information ever since. And the editor-in-chief of the aforementioned leak publishing outlet, WikiLeaks, has been repeatedly trying to warn us about this coming development.
  • In a statement that was recently read during the “Organising Resistance to Internet Censorship” webinar, sponsored by the World Socialist Web Site, Assange warned of how “digital super states” like Facebook and Google have been working to “re-establish discourse control”, giving authority over how ideas and information are shared back to those in power.Assange went on to say that the manipulative attempts of world power structures to regain control of discourse in the information age has been “operating at a scale, speed, and increasingly at a subtlety, that appears likely to eclipse human counter-measures.”What this means is that using increasingly more advanced forms of artificial intelligence, power structures are becoming more and more capable of controlling the ideas and information that people are able to access and share with one another, hide information which goes against the interests of those power structures and elevate narratives which support those interests, all of course while maintaining the illusion of freedom and lively debate.
  • To be clear, this is already happening. Due to a recent shift in Google’s “evaluation methods”, traffic to left-leaning and anti-establishment websites has plummeted, with sites like WikiLeaks, Alternet, Counterpunch, Global Research, Consortium News, Truthout, and WSWS losing up to 70 percent of the views they were getting prior to the changes. Powerful billionaire oligarchs Pierre Omidyar and George Soros are openly financing the development of “an automated fact-checking system” (AI) to hide “fake news” from the public.
  • ...2 more annotations...
  • To make matters even worse, there’s no way to know the exact extent to which this is going on, because we know that we can absolutely count on the digital super states in question to lie about it. In the lead-up to the 2016 election, Twitter CEO Jack Dorsey was asked point-blank if Twitter was obstructing the #DNCLeaks from trending, a hashtag people were using to build awareness of the DNC emails which had just been published by WikiLeaks, and Dorsey flatly denied it. More than a year later, we learned from a prepared testimony before the Senate Subcommittee on Crime and Terrorism by Twitter’s acting general counsel Sean J. Edgett that this was completely false and Twitter had indeed been doing exactly that to protect the interests of US political structures by sheltering the public from information allegedly gathered by Russian hackers.
  • Imagine going back to a world like the Middle Ages where you only knew the things your king wanted you to know, except you could still watch innocuous kitten videos on Youtube. That appears to be where we may be headed, and if that happens the possibility of any populist movement arising to hold power to account may be effectively locked out from the realm of possibility forever.To claim that these powerful new media corporations are just private companies practicing their freedom to determine what happens on their property is to bury your head in the sand and ignore the extent to which these digital super states are already inextricably interwoven with existing power structures. In a corporatist system of government, which America unquestionably has, corporate censorship is government censorship, of an even more pernicious strain than if Jeff Sessions were touring the country burning books. The more advanced artificial intelligence becomes, the more adept these power structures will become at manipulating us. Time to start paying very close attention to this.
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Official Google Webmaster Central Blog: Authorship markup and web search - 0 views

googlewebmastercentral.blogspot.com/...hip-markup-and-web-search.html authorship-markup google-profile
shared by Gary Edwards on 28 Jun 11 - No Cached
  • Gary Edwards on 28 Jun 11
     
    Google now supports markup that enables websites to publicly link within their site from content to author pages. For example, if an author at The New York Times has written dozens of articles, using this markup, the webmaster can connect these articles with a New York Times author page. An author page describes and identifies the author, and can include things like the author's bio, photo, articles and other links. If you run a website with authored content, you'll want to learn about authorship markup in our Help Center. The markup uses existing standards such as HTML5 (rel="author") and XFN (rel="me") to enable search engines and other web services to identify works by the same author across the web. If you're already doing structured data markup using microdata from schema.org, we'll interpret that authorship information as well
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Method for invoking UOML instructions - Patent application - Embodiments of the present... - 1 views

www.faqs.org/...20090187927
shared by Gary Edwards on 24 Aug 10 - Cached
  • Gary Edwards on 24 Aug 10
     
    Patent application filed on OASIS UOML access by API. 0002]The present invention relates to electronic document processing technologies, and particularly to a method for encapsulating Unstructured Operation Markup Language (UOML) into an Application Programming Interface (API).  BACKGROUND OF THE INVENTION  [0003]The UOML standard includes a series of docbase management system instructions defined according to a format of "action+object" in Extensible Markup Language (XML), which has been explained in detail in an UOML Standard published by of the Organization for the Advancement of Structured Information Standards (OASIS ). Since XML works across different platforms and with different languages, the UOML standard can enable the docbase management system instructions to be exchanged across the different platforms in the different languages. However, in practical applications, operations on a docbase are usually controlled by using programs written in programming languages, hence the programs need to parse and process UOML XML texts. If every application developer designs his/her own way of parsing and processing UOML XML texts in his/her programs, the workload of coding will increase significantly and the efficiency of coding will drop sharply.  SUMMARY OF THE INVENTION  [0004]The objective of the present invention is to provide a method for encapsulating Unstructured Operation Markup Language (UOML) into an Application Programming Interface (API) of a programming language so as to improve the development efficiency of docbase management system application developers.  [0005]The method provided by the present invention for encapsulating UOML into an API includes:  Read more: http://www.faqs.org/patents/app/20090187927#ixzz0xVS2ZUSr
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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".
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http://www.sdtimes.com/lgp/images/wp/What's%20next%20for%20HTML5.pdf - 0 views

www.sdtimes.com/...hat's%20next%20for%20HTML5.pdf HTML5 Visual-Productivity Visual-Documents Cloud-Computing
shared by Gary Edwards on 01 Oct 13 - No Cached
  • Gary Edwards on 01 Oct 13
     
    White paper from Intel discusses HTML5 and the future of computing. Intro: Computer programmers have been grappling with cross-platform issues since there was a second platform. Since then, the number of issues has rapidly increased. Today's developers can target at least four operating systems (plus their fragments), running on devices with all shapes, sizes, resolutions, persistence levels, input methods, carrier networks, connection speeds and states, UI conventions, app stores, deployment and update mechanisms, and on and on. Many of the world's developers once looked to Java* as the shining knight of cross-platform development. Indeed, the structured language of Sun* (and now Oracle) continues to solve many cross-platform issues. But it also introduces obstacles, not the least of which is a class structure that heavily burdens even the tiniest of program functions. Java's heft grew still more burdensome as developers turned to the browser for app delivery; Java applets are black boxes that are as opaque to the browser as the language is closed to the developer (with all due deference to the JCP). Around the same time Java was fuelling the browser wars, a like-named interpreted language was beginning to emerge. First called Mocha, later LiveScript, and finally JavaScript*, the language proved more useful than Java in some ways because it could interact with the browser and control content display using HTML's cascading style sheets (CSS). JavaScript support soon became standard in every browser. It is now the programming language of HTML5, which is currently being considered by the World Wide Web Consortium as the next markup-language standard. To better understand HTML5-why it is where it is and where it's going- Intel® Software Adrenaline turned to Moh Haghighat, a senior principal engineer in the Developer Products Division of Intel's Software and Services Group. Moh was the technical lead from Intel's side on the first JavaScript
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Mathematical Markup Language (MathML) Version 3.0 - 0 views

www.w3.org/...PR-MathML3-20100810 W3C MathML3 OpenWeb
shared by Paul Merrell on 17 Aug 10 - Cached
  • Mathematical Markup Language (MathML) Version 3.0 W3C Proposed Recommendation 10 August 2010
  • This specification defines the Mathematical Markup Language, or MathML. MathML is an XML application for describing mathematical notation and capturing both its structure and content. The goal of MathML is to enable mathematics to be served, received, and processed on the World Wide Web, just as HTML has enabled this functionality for text.
  • Paul Merrell on 17 Aug 10
     
    MathML 3 achieves proposed recommendation status. For those unfamiliar with W3C lingo, this means that it is now a proposed standard. Concurrently, W3C published a proposed recommendation for a A MathML for CSS Profile, http://www.w3.org/TR/2010/PR-mathml-for-css-20100810/
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HTML 5: The Markup Language - 0 views

dev.w3.org/spec.html html5 html
shared by Gary Edwards on 09 Sep 09 - Cached
  • Gary Edwards on 09 Sep 09
     
    The stripped down "HTML Author" version of the 900 page HTML5 specification.   The bulk of the spec targets "implementers" such as browsers and editors.  It's very exacting and should provide for an unprecedented universal interoperability. Introduction:  This specification provides the details necessary for producers of HTML content to create conformant documents, and for others to wcheck the conformance of existing documents. It is designed: to describe the syntax and structure of the HTML language to describe the semantics of HTML elements and their attributes (that is, to describe what the elements and attributes represent) to be clear and unambiguous to be as concise and readable as possible Certain purposes are intentionally out of scope for this specification; in particular, it: does not provide any conformance criteria for HTML consumers; in particular, it does not attempt to define how Web browsers and other user agents process documents does not define any APIs related to processing of HTML content by HTML consumers. does not attempt to be a tutorial or "how to" authoring guide
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The HTML 5 Layout Elements Rundown - 0 views

www.devx.com/42280 html 5 html 4 structural markup
shared by Paul Merrell on 08 Jul 09 - Cached
  • TML 5 is an interesting beastie. The specification was not planned; The W3C was committed to HTML 4.1 as the last word in HTML. As such, most of the requests for HTML 5 came from the HTML user community itself, largely through the advent of the Web Hypertext Application Technology Working Group (WHATWG). The push from WHATWG was strong enough to prompt the formation of a HTML 5 working group a couple of years ago. Since then, the HTML 5 working group has slowly gone through the process of taking a somewhat hand-waving specification and recasting it in W3C terms, along with all the politics that the process entails. On April 23, 2009, the HTML 5 group released the most recent draft of the specification. Overall, it represents a considerable simplification from the previous release, especially as a number of initially proposed changes to the specification have been scaled back. The group defined roles for the proposed changes elsewhere. HTML 5 is a broad specification, and consequently, dozens of distinct changes—more than a single article can reasonably cover in any detail—occurred between HTML 4 and 5. This article focuses on the HTML 5 layout elements. Subsequent articles will examine forms-related changes (which are substantial), the new media elements, and DOM-related changes.
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