Web = 95% Typo

The stance is claimed by iA (Information Architects), and this is all the more accurate. Smashing Magazine elaborates on it to provide some guidelines and tips for Technical Web Typography.

More precisely :

& :
Webbed fonts | @font-face (@typOL).

Things of Internet

SENSEI is a recently completed european project on the « future internet« , even a « internet of things » flavour on it. Work’OL did participate in it, and wishes now to earmark the following besides Rethinking Business Model for Innovation (the e-book to which 4 ex-SENSEI adventurers contributed) :

– The final audio-video showcase.
– The final socio-economic report called Business models and Value Creation (to be uploaded on day).
– The so-called cookbook, or the Instruction Manual for Installation and configuration of the SENSEI Test Platform in a wiki style.
– The coloured Architecture White Paper (PDF file), or A reference architecture to link the physical and the digital world in the network of the future.
– And the website itself.

& :
– Duncan Wilson (ARUP) ‘s Emtech Primer | Zach Selby (Sensinode) ‘s On the Internet of Things | Mirko Presser (Alexandra Institute)’s IseeTeaInEveryThing (ICT ?).
– European Future Internet Assembly.
SENSEI ? (@webOL).

Open format for documents

Open means to be accessible in a large number of ways (here, softwares). It might be paying or not, but not trapped by a given supplier.

OpenDocument (@wikipedia) is the ISO/IEC 26300 format used by OpenOffice.org among others. Microsoft proposes XML, however no truly open-portable-platform-agnostic format.
– Former SGML (Standard Generalized Markup Language) Open created in 1993, OASIS (Organization for the Advancement of Structured Information Standards) « drives the development, convergence and adoption of open standards for the global information society. (…). The Consortium hosts two of the most widely respected information portals on XML and Web services standards, Cover Pages and XML.org. OASIS Member Sections include Blue, CGM Open, eGov, Emergency, IDtrust, LegalXML, Open CSA, and WS-I. »
Comparison of Office Open XML and OpenDocument | Comparison of document marked-up languages | XML (@wikipedia).
– Case studies and references to The economic impact of open data (@LinkedGov).

In short, Opendocument.xml.org gives their own presentation :

The OpenDocument Format (ODF) is an open XML-based document file format for office applications to be used for documents containing text, spreadsheets, charts, and graphical elements. The file format makes transformations to other formats simple by leveraging and reusing existing standards wherever possible.

As an open standard under the stewardship of OASIS, ODF also creates the possibility for new types of applications and solutions to be developed other than traditional office productivity applications. ODF is defined via an open and transparent process at OASIS and has been approved unanimously by the International Organization for Standardization (ISO) and the International Electrotechnical Commission (IEC) as an international standard in May 2006. It is available for implementation and use free of any licensing, royalty payments, or other restrictions.


& :
Liberté et non gratuité (@webOL).

e-book on BM released

So what ? Edited by Valérie Chanal, the e-book called Rethinking Business Model for Innovation : Lessons from entrepreneurial cases is out. Much more is to come, but tasting the flavour with no delay means :

– To download the book for free.
– To follow the tweets.
– To wait a few days for the print-on-demand option.
– Patienter jusqu’au 31 mars prochain pour la version française publiée par les Presses Universitaires de Grenoble.

& :

– To-be-updated-soon : the new page coined PubliOL.
– Fonts by Jos Buivenga (@webOL), settled in the grid by à hauteur d’x.

Liberté et non gratuité

Non pas un sujet du Bac Philo ou une conversation de comptoir intello que voici, mais la suite d’un précédent billet (« How much free is free« ) au bénéfice d’un fort clair intitulé « Le prix de la gratuité« , publié par Marin Dacos (@Homo Numericus). L’évidence que voilà dira-t’on mais qu’il est bon de rappeler pour ce qui concerne l’édition-électronique-en-ligne-donc.

Certains ont pu croire que le numérique allait faire chuter les prix d’édition, et que le seul changement de support (du papier au numérique) allait rendre possible une édition électronique en libre accès, dans un monde meilleur où les valeurs de diffusion du savoir pourraient l’emporter sur les basses contraintes budgétaires des sociétés savantes publiant livres et revues. Il faut bien se rendre à l’évidence: dans le travail éditorial, rien de fondamental n’a changé avec le numérique. Bien sûr, il est possible d’automatiser certaines tâches, comme par exemple la gestion des manuscrits soumis à l’éditeur et l’ensemble des échanges entre le rédacteur en chef, les experts, le comité de lecture, le conseil scientifique, etc. Mais cette automatisation n’est qu’un support à l’intelligence humaine, elle ne peut pas s’y substituer. Le travail d’un rédacteur en chef, d’un auteur, d’un expert et d’un secrétaire de rédaction restent les mêmes. Pire: en augmentant la visibilité des revues, la mise en ligne a augmenté les coûts de gestion des soumissions par des auteurs devenus plus nombreux… et la gestion des manuscrits assistée par wokflow n’est, finalement, que l’adaptation du secteur de l’édition à ces nouvelles conditions de visibilité. Pire encore: (…).

& :
– « Priced to sell » par Malcom Gladwell (@New Yorker, 2009-07-06).
IT + Eco (@WebOL).

Missing seeds in some apples

The iPad from Apple shall save the business sectors of editing-press-whatever-written, shalln’t it ? There is a bit less than meets the eye. Claimed to be gorgeous a device (hardware-wise, in other terms), the publishing capabilities might lag behind yet.

The missing gaps, by FontFeed. In short : « good typography« .
About Apple & Typography, by Khoi Vinh (@Subtraction).
Wired apps just a paper tiger, by iA.
First impressions, by Idsgn.
– (…)

But the future is not written yet (never will be in full).

& :
TypoGrapho | IT (@WebOL).

Media arts heritage

Memory, heritage, digital, art, history quoted randomly… A bilingual (english-français) summit was held by DOCAM in Montréal (CA) in March 2010.

The DOCAM Research Alliance ?

For more than 50 years, the use and integration of technology in art practices has greatly changed the cultural landscape and has prompted us to review and adapt our conservation and documentation methods. The work and results of DOCAM demonstrate that the preservation of media art requires that its particular characteristics be taken into account. The mission of the DOCAM Research Alliance has been to identify and implement five research axes and propose tools, guides and methods that contribute to the preservation of the media arts heritage. The axes are conservation, documentation, cataloguing, history of technologies and terminology.

(Version française)

The Summit in video, in addition to the program and abstracts ?

History of technologies and pedagogical resources
Custom Machines and Conservation Studies
Les enjeux des enseignements sur la documentation et la conservation des arts médiatiques : bilan du séminaire DOCAM
History of technologies in museum curatorial practice
The DOCAM Cataloguing Guide for New Media Collections
The DOCAM Glossaurus
The DOCAM Documentary Model
Towards a Simulative Philology
Metadata case study for the implementation of an open access repository of self-archived media arts documentation
Raconter l’archive autour d’une exposition
Online documentary collections and resources for recorded audience experience
Taxonomies, documentary collections and replay archives: The documentation and research of interactive artworks at the Ludwig Boltzmann Institute Media.Art.Research
Crowdsourcing Preservation: The Variable Media Questionnaire 3.0
DOCAM Best Practice Guide : Some tools and principles specific to the preservation and conservation of time-based media artworks
Virtualizing Agent Ruby: Collecting Web Art
Media Conservation at the Museum of Modern Art, New York
Art and Food Unlimited? Conservation et présentation d’œuvres d’art éphémères qui contiennent des produits alimentaires
Between organic media and technology. Unstable materials and contemporary conservation
Staging Media Art Installations
La préservation des équipements obsolètes dans les installations vidéo et à composantes informatiques
“Don’t believe I am an Amazon”: The Preservation of Video Installations based on Performance Art
Documenting Digital Art in Small Galleries: The Approach of the InterPARES 3 Project
Is it possible to change the way we will remember it? A journey between ethical concerns and practical strategies of preservation
Performing Technology: the challenges of documenting interactive artworks
Synchoros ou l’œuvre-instrument
Closing remarks

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Compte-rendu du symposium « L’histoire contemporaine à l’ère digitale » , Université du Luxembourg, Octobre 2009 (Patrick Peccatte).
– De l’Archivage olympique au sujet du consortium international IPC, l’Internet Preservation Consortium (Jean-Marc Francony).
Digital Art Memory | Digital ethnography | IT art | Art video | Woman in (art) video | Timed monography about the Internet | Europeana | CréArte (WebOL).

Forest – Forêt – Wald – Metsä – Mori

This another engrossing example of web-documentary presents the Finnish forest in all dimensions from trees to fauna and timber exploitation. Or is it ? Here is an ad spot actually that the forest consortium UPM has sponsored (or even commissioned ?). The content is worth browsing still.

Available also in français, deutsch, suomi, 日本.

& :
Webdocs (@WebOL).

(Merci à MB+FF).


Le webdocumentaire est une nouvelle forme d’écriture, associant plusieurs formes et moins linéaire qu’un film. Tant pour le sujet que pour la manière de le rendre, celui-ci intitulé Africascopie, l’Afrique dans la révolution numérique diffusé par Le Monde mérite attention.

(A suivre).

& :
– Autre exemple, déjà signalé, sur le Mur de Berlin ou sur la forêt finlandaise.
– La pratique des scénarios.