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BMC Bioinformatics -
7 hours and 15 minutes ago
Publication Date: 2008 Nov 28 PMID: 19040729br/Authors: Tautenhahn, R. - Bottcher, C. - Neumann,
S.br/Journal: BMC Bioinformaticsbr/br/ABSTRACT: BACKGROUND: Liquid chromatography coupled to mass
spectrometry (LC/MS) is an important analytical technology for e.g. metabolomics experiments.
Determining the boundaries, centres and intensities of the two-dimensional signals in the LC/MS raw
data is called feature detection. For the subsequent analysis of complex samples such as plant
extracts, which may contain hundreds of compounds, corresponding to thousands of features - a
reliable feature detection is mandatory. RESULTS: We developed a new feature detection algorithm
centWave for high-resolution LC/MS data sets, which collects regions of interest (partial mass
traces) in the raw-data, and applies continuous wavelet transformation and optionally Gauss-fitting
in the chromatographic domain. We evaluated our feature detection algorithm on dilution series and
mixtures of seed and leaf extracts, and estimated recall, precision and F-score of seed and leaf
specific features in two experiments of different complexity. CONCLUSIONS: The new feature
detection algorithm meets the requirements of current metabolomics experiments. centWave can detect
close-by and partially overlapping features and has the highest overall recall and precision values
compared to the other algorithms, matchedFilter (the original algorithm of XCMS) and the
centroidPicker from MZmine. The centWave algorithm was integrated into the Bioconductor R-package
XCMS and is available from http://www.bioconductor.org/.br/br/post to: a href =
http://www.citeulike.org/posturl?url=http%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fentrez%2Fquery.fcgi%3Fcmd%3DRetrieve%26db%3DPubMed%26dopt%3DAbstract%26list_uids%3D19040729title=Entrez+PubmedCiteULike/a

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Autoblog -
7 hours and 38 minutes ago
pFiled under: a href="http://www.autoblog.com/category/timewarp/" rel="tag"Time Warp/a, a
href="http://www.autoblog.com/category/auction-action/" rel="tag"Auction Action/a/pa
href="http://www.autoblog.com/photos/1956-aerocar-on-ebay/1196386/"img vspace="4" hspace="4"
border="0" alt="" src="http://www.blogcdn.com/www.autoblog.com/media/2008/12/aerocar_450.jpg" //abr
/ div align="center"emstrongsmallClick above for more shots of the Aerocar in eBay/small/strongbr
//em/div br /Now here's something you just don't see every day. In fact, we'd wager most people
will never see an original Aerocar in person at all, considering that only six were ever made. Now
that one has managed to pop up on eBay Motors, this could be your chance to own a small piece of
history. Built in 1956, this red and black Aerocar hasn't been flown since the late '70s, but looks
to have been stored properly and appears to be in remarkably good shape.br /a
href="http://www.autoblog.com/photos/1956-aerocar-on-ebay/1196398/"img vspace="4" hspace="4"
border="0" align="right" alt=""
src="http://www.blogcdn.com/www.autoblog.com/media/2008/12/aerocar_250.jpg" //abr /Powered by a
single Lycoming engine offering up 135 horses, the Aerocar is capable of hitting 112 miles per hour
in the air and about half that on the tarmac. The whole kit was an amazing when it was designed in
the 1940s with its front-wheel drive chassis propping up foldable wings that are towed behind when
not needed along with a rear-mounted detachable pusher prop. The transformation from automobile to
airplane reportedly takes one man just five minutes to complete. br /br /Such a unique and
historically significant machine isn't going to come cheap. In the case of the Aerocar, a cool $3.5
mil is all that's required to strikefly/strike strikedrive/strike trailer it home for yourself. To
quote Dr. Jones, this thing belongs in a museum.br /br /div class="postgallery"pstrongGallery: a
href="http://www.autoblog.com/photos/1956-aerocar-on-ebay/"1956 Aerocar on eBay/a/strong/pa
href="http://www.autoblog.com/photos/1956-aerocar-on-ebay/1196386/"img
src="http://www.blogcdn.com/www.autoblog.com/media/2008/12/aerocar_ebay_large_01_thumbnail.jpg"
alt="" title="" //aa href="http://www.autoblog.com/photos/1956-aerocar-on-ebay/1196398/"img
src="http://www.blogcdn.com/www.autoblog.com/media/2008/12/aerocar_ebay_large_29_thumbnail.jpg"
alt="" title="" //aa href="http://www.autoblog.com/photos/1956-aerocar-on-ebay/1196407/"img
src="http://www.blogcdn.com/www.autoblog.com/media/2008/12/aerocar_ebay_large_21_thumbnail.jpg"
alt="" title="" //aa href="http://www.autoblog.com/photos/1956-aerocar-on-ebay/1196409/"img
src="http://www.blogcdn.com/www.autoblog.com/media/2008/12/aerocar_ebay_large_10_thumbnail.jpg"
alt="" title="" //aa href="http://www.autoblog.com/photos/1956-aerocar-on-ebay/1196390/"img
src="http://www.blogcdn.com/www.autoblog.com/media/2008/12/aerocar_ebay_large_02_thumbnail.jpg"
alt="" title="" //a/divbr /[Source: a
href="http://cgi.ebay.com/ebaymotors/Aerocar-N103D-Flying-Plane-Car-Single-Engine-Auto-Fly_W0QQcmdZViewItemQQ_trkparmsZ66Q3a2Q7c65Q3a3Q7c39Q3a1Q7c240Q3a1318QQ_trksidZp3286Q2ec0Q2em14QQhashZitem200280604815QQitemZ200280604815QQptZMotorsQ5fAircraft#ht_3322wt_0"eBay/a]p
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href="http://www.autoblog.com/2008/12/02/ebay-find-of-the-day-one-of-six-aerocars-ever-made/"eBay
Find of the Day: One of six Aerocars ever made/a originally appeared on a
href="http://www.autoblog.com"Autoblog/a on Tue, 02 Dec 2008 20:01:00 EST. Please see our a
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Guardian Unlimited -
8 hours and 32 minutes ago
divimg alt=""
src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.15.1/38354?ns=guardianpageName=Art+and+design%3A+%27I+was+shocked+by+the+hatred%27ch=Art+and+designc3=The+Guardianc4=Mark+Leckey%2CCulture+section%2CTurner+prize%2CArt+%28visual+arts+only%29%2CArt+and+design%2CAwards+and+prizes+%28Culture%29c5=Art%2CNot+commercially+usefulc6=Charlotte+Higginsc7=2008_12_03c8=1127709c9=articlec10=GUc11=Art+and+designc12=Mark+Leckeyc13=c14=h2=GU%2FArt+and+design%2FMark+Leckey"
width="1" height="1" //divpMark Leckey has been handed two kinds of hangover cure the morning after
winning the Turner prize - a packet of ibuprofen and an orange tube of Berocca. But the hangover
doesn't show: the artist is neat as a pin in dandyish pink jeans, delicately polka-dotted shirt and
a bleached-gold mane straight out of the George Michael school of haircare. /ppWhen the Turner
prize is not being decried as insanely controversial, it is written off as dull and well past its
sell-by date. This year's show fell into the latter category. Leckey, like many a winner before
him, has discovered the hard way that a cheque for pound;25,000 and an instantly improved career
come at the price of a public mauling. The Independent yearned for something that wasn't "about
wearing your theory-stuffed brain on your sleeve". The Telegraph wrote off the entire show as
"technically competent, bland, and ultimately empty". /pp"What I was warned to expect, but still
shocked me, was how much obloquy and hatred the prize generates," he says. "I love the Stuckist
conspiracy theory, that Nicholas Serota is a kind of machiavellian Skeletor who manipulates the
government and the people." He will have had good advice, too: at Monday night's ceremony he was
hand-in-hand with a Tate curator who has overseen previous Turner prize exhibitions; one of this
year's judges, Daniel Birnbaum, is a colleague at the Frankfurt art school where he teaches. ("I
know it looks ropey," he says of this last fact. "But it won't have helped me. He would have had to
make a more convincing case for me, if he argued for me - and I don't know that he did.") Even so,
he has been caught off guard. "I certainly wasn't expecting my work to be called boring and
over-intellectualised. People wrote about me who don't know me, don't know my work, made an opinion
based on one piece of work. They just steamed in."/ppFor some artists, the payback for this
"obloquy" is the experience of having 60,000 members of the public come to see their work at Tate
Britain. Not for Leckey. He accepted the nomination partly "because I wanted to see what it was
like outside the sometimes constricted art world. It's small and can be very self-congratulatory."
But, he says, "I am not interested in my work being democratised." What he'd really like, now, is
for some doors to open. In particular, he wants his own television series - a variety show, with
his band, Jack Too Jack, as the house orchestra. It would have musical numbers, and a little play
or sketch, and Leckey sitting in a leather armchair agrave; la Ronnie Corbett telling an anecdote -
except the chat would be "about art and ways of seeing". John Berger meets the Two Ronnies, he
says. Would the BBC be remotely interested? "Well, there'd be no swearing," he says. "This would be
good, old-fashioned, light entertainment."/ppLeckey takes me through his room in the Turner
exhibition. Here is a little model of his flat, also his studio, which often appears in his films,
marking the liminal space between the "real" world and the world of images in which he operates, or
loses himself. Over there is Felix the Cat, spinning endlessly on a screen; there is something
almost pornographic in the camera's pitiless gaze. Over here is a film that, by sleight of hand,
appears to show Jeff Koons' Bunny, a metal sculpture of an inflatable rabbit, taking pride of place
in Leckey's apartment. But it's all smoke and mirrors - the piece was never there. /ppLeckey is an
admirer of Koons. "I like the idea of something that's almost inhuman in its perfection, like
Bunny. It's as if it just appeared in the world, as if Koons just imagined it and it appeared. I
always get too involved in the work." He also likes the notion that Warhol made his art
unselfconsciously, "that he produced this work and went, 'Ah, really?' I like the idea that you let
culture use you as its instrument. What gets in the way is being too clever, or worrying about how
something is going to function, or where it's going to be. When you start thinking of something as
art, you're fucked: you're never going to advance."/ppLeckey, 44, is the son of working-class
parents who met while they were both working at Littlewoods. He was a "woollyback", someone from
outside metropolitan Liverpool. "Ellesmere was an overspill town. I grew up with a sense of feeling
inadequate, with the idea that the real action was going on over the river." He became a casual.
"It was a working-class style, a genuine subculture. It was lads who adopted middle-class
leisurewear - golfwear, sportswear - that you could see in magazines worn by the jetset.
Ultimately, another word for casual was football hooligan. It was a kind of drag, a disguise. A
means of using style to transform yourself." /ppThis was the era of the new romantics, but "casuals
were more stylish, and smarter". You could say that Leckey's early negotiations between image and
substance, his early attempts at self-transformation, were a kind of preparation for life as an
artist. But art was a long time in the future. At Whitby comprehensive, now Whitby high school, he
dyed his hair. "Like a skunk. And I used to jump out of windows: my effort to escape. My record was
two floors." He left at 16 with one O-level, in art. He can't remember what grade he got. /ppThen
there was a period when "I was a scally. A bad lad." What kind of a scally? "I scallied around," he
says, evasively. "A bit of this, a bit of that." He went on various YTS schemes. Then, at 19, "I
suddenly got deeply fascinated in trying to find out when civilisation began. In Ur and Babylon. I
started going to the library. I am an autodidact - that's why I use bigger words than I should.
It's a classic sign." Leckey's obsession with the beginning and the end of things has stayed with
him. "It's the terror of infinity. I'm not convinced about the solidity of anything. Everything
seems ephemeral." Sometimes images "seem more authentic than what they represent": this is a theme
of his filmed lecture, Cinema-in-the-Round, part of the Turner prize show./ppFinally, Leckey says,
his stepfather sat him down in the kitchen, and said: "Everything in this room has been designed
and made by someone. You could do that." He took A-levels and went to art college in Newcastle,
which he hated. "It was the early 1990s, when critical theory had swept the nation. The place was
full of hippies from down south who were reading Mervyn Peake and Tolkien, and suddenly they were
made to read Barthes and Derrida. It was like a Maoist year zero. I became very suspicious of the
merits of critical theory, which is why I have been shocked at being accused of being
over-academic. I've never seen myself as theoretically minded."/ppWhen Leckey collected the Turner
prize cheque from Nick Cave on Monday night, he declared himself "chuffed to bits", and said that
he was sounding more and more scouse. Then, surveying the room, he declared rather elliptically:
"This is all good." I wonder what he meant. The prize? The party? The art world? "I was trying to
say, not very well, that the art world in London, in Britain - that this is my world. It's good you
can get acknowledged by your peers and that there is a sense of community. OK, that sentimentalises
it, because it can be a bitter world, it can get factionalised, and lots of us can be sitting there
scowling about White Cube gallery. /pp"When you read about the Turner prize in the press, and about
the art world in general, you get the wonky idea that it's all about Tracey Emin, Damien Hirst,
Banksy. I get riled by Damien Hirst's skull and by Banksy. It just irks me. The work is trite. And
then it comes to represent culture and art, it becomes totemic. And I don't understand that."
/pp· The strongTurner prize exhibition/strong is at Tate Britain, London SW1, until January
18. Details: 020-7887 8888./pdiv style="float: left; margin-right: 10px; margin-bottom: 10px;"ullia
href="http://www.guardian.co.uk/artanddesign/mark-leckey"Mark Leckey/a/lilia
href="http://www.guardian.co.uk/artanddesign/turnerprize"Turner prize/a/lilia
href="http://www.guardian.co.uk/artanddesign/art"Art/a/lilia
href="http://www.guardian.co.uk/culture/awardsandprizes"Awards and prizes/a/li/ul/diva
href="http://www.guardian.co.uk"guardian.co.uk/a copy; Guardian News Media Limited 2008 | Use of
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Generation Nouvelles Technologies -
14 hours and 56 minutes ago
HOUSTON, December 2 /PRNewswire/ -- - La plate-forme HP BladeSystem c-Class réduit les
coûts et supprime les obstacles à la performance en permettant d'extraire, de
transformer et de charger 5,4 téraoctets de données en moins d'une ...
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Techdirt -
15 hours and 38 minutes ago
I'm quite often confused by those who consider themselves big supporters of pure free market
capitalism, but who also are adamant believers in the importance of intellectual property. Perhaps
the largest group of such folks are the so-called "Objectivist" followers of Ayn Rand. Capitalist
Magazine is running an a href="http://capmag.com/article.asp?ID=5358"Objectivist defense of the
recent ProIP law/a that was recently a
href="http://www.techdirt.com/articles/20081013/2256222533.shtml"signed into law/a despite
basically being a government handout to the entertainment industry. Stephen Kinsella has a
href="http://www.againstmonopoly.org/index.php?perm=593056000000000190" target="_new"responded to
many of the points made in the original article/a, and picks up on a key point that many defenders
of intellectual property always pull out in their defense: blockquotei The creator of content owns
the content because he created it through his own labor, and you should always own the fruits of
your own labor. /i/blockquote The problem is this just isn't true and never has been. Simply
providing the labor does not equal ownership. As Kinsella notes in his response: blockquotei His
argument? "If a baker bakes a loaf of bread, he therefore owns it." And likewise, for "music,
movies, software." But note the mistake here Johson makes: "If a baker bakes a loaf of bread, he
btherefore/b owns it." The "therefore" is the giveaway: he says this because he thinks of the
creation of the loaf as the act that gives rise to ownership. Then this leads to the analogy with
other created things, like music. But creation of the loaf is not the reason why the baker owns it.
He owns the loaf because he owned the dough that he baked. He already owned the dough, before any
act of "creation"--before he transformed it with his labor. If he owned the dough, then he owns
whatever he transforms his property into; the act of creation is an act of transformation that does
not generate any new property rights. So creation is not necessary for him to own the resulting
baked bread. Likewise, if he used someone else's dough--say, his employer's--then he does not own
the loaf, but the owner of the dough does. So creation is not sufficient for ownership.
/i/blockquote Exactly. Creation alone does not grant property rights if none existed prior to that
transformation. I would even take the argument a step further. Even if you own something due to the
fact that you created it, once you have igiven away/i or isold/i that product, you no longer have
ownership of it -- and claiming you do actually iremoves property rights/i from the lawful owner.
br /br / That is, if I make a loaf of bread, and then sell it to someone, I no longer have control
over that loaf of bread. I cannot tell the new owner that he can only make French toast with it and
cannot feed the bread to the pigeons. That's for the new owner to determine. I certainly cannot
tell him that he cannot take the bread and try to resell it or even give it away to others. That's
part of the free market. Yet, intellectual property enthusiasts ido/i want to remove these property
rights from the recipients of icopies/i of the original good. Despite their claims of being
property rights supporters, they are actually the opposite. They are trying to deny property rights
to any recipient.br /br /a href="http://techdirt.com/articles/20081123/1245112929.shtml"Permalink/a
| a href="http://techdirt.com/articles/20081123/1245112929.shtml#comments"Comments/a | a
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The Shifted Librarian -
18 hours and 55 minutes ago
Every Piece of Information Is a Latent Community
December 2, 2008
Clay Shirky’s keynote talk to open the 2008 Online Information Conference
“group action just got easier” = 5-word summary of his book Here Comes
Everybody
the ways the media environment is being transformed now that consumers are first-class
participants
the overlap of all of the patterns in one environment is the big transition we’re all
living through and trying to figure out
showed a picture of a truck in a parking lot at sunset on Flickr - HDR photography (technique,
not just software)
don’t need to see what’s going on in the comments to understand what’s going on
there
people start inserting photographs into the comments, which turn to a technical discussion
a user group is assembled on the fly
used to be gather then share - used to have to identify the people who would be interested first
and then organize/share
Flickr reversed the pattern - share and then gather
they didn’t identify themselves before they saw this page
Flickr had the infrastructure to let these people create a community on the fly
once the users created this, it wasn’t evanescent anymore - it was permanent now
shows that every URL is a latent community - potential value that people looking at it might find
value in it
not all will see community grow, but the potential is there
can have many more communities of practice at much lower cost because the old distinction between
conversation and publication is no longer true
why pick? Flickr gets more value out of not having to decide in advance what a piece of
information might be used for
even on the Flickr picture, other conversations can take place in parallel
Flickr gives users the tools to add value
there are large patterns we see (not every service on the internet has these, but some large ones
do)
- share
- collaboration
- collective action
in this order, because how much does the individual have to give up to get value?
takes more effort the higher you go on the ladder
showed Bronze Beta - the Buffy the Vampire Slayer fan club site
back when WB sold the rights to Buffy to UPN, UPN didn’t want the community group online,
so they shut down the server (UPN: we don’t want it because we’re in the television
business)
the users, however, wanted the community to continue, so they raised money and commissioned a new
service to move to
they explicitly decided they didn’t want any “features” - no ratings, rankings,
etc.
they just wanted to type in text, and now it’s just a giant scroll of conversation
the community is still going
these new social technologies are the first time where later generations of technology have fewer
features than older versions
the simplicity in the tools has to do with a mindshift of the computer as a box to a door
for individually-oriented software, a long list of features is good (Photoshop, Word, etc.)
but when we want to collaborate, fewer features is better; we need the same mental model of
what’s going on
the complexity is in the user, not the software
in Bronze Beta, the complexity is in the very long list of rules created by the users (”no
colored fonts”)
showed the Wikipedia entry for Doctor Who - it’s been edited almost 9,000 times by more
than 3,000 people
the breadth and depth of participation is quite extraordinary
“hive mind” - people that use this term almost always don’t understand
what’s happening
these folks aren’t part of a community in any sense because most have only edited it once
or twice
someone, though, has edited it thousands of times; every article he’s touched on Wikipedia
is about Doctor Who
there is no coherent average behavior, although the commonest behavior is one edit, one user
we’re used to counting noses - how many people watched my TV show, read my book, etc.
but here, there is no one common user behavior; instead, there’s this tiny group of
fantastically engaged users
imagine going to your boss and trying to convince them to plan this
it’s not everybody pitching in like a barn-raising; it’s not collaboration
it’s like a small, self-appointed editorial board
collaboration involves real synchronization
it’s not just you share and I share
collective action is the most difficult pattern to get going because the whole group has to
commit to it and either stand or fall together
two examples - HSBC
they recruited college students with penalty-free checking accounts
proved to be popular, but then they changed their minds and added a penalty
gave users 30 days to get their money out
thought they had the information and coordination advantage
in the summer, the students should have been outclassed by HSBC’s tools
but they didn’t count on Facebook
a user starts a page, which goes viral
for the first time, college students are dispersed but active
they started sharing documentation - good banks to move to and how
once one person solved the problem, the information was available to everyone
goodbye to HSBC’s information advantage
then they organized a real-world protest, but it never happened because by then HSBC had caved
in
HSBC backed down because the students were upset AND coordinated
“thinking is for doing”
there is an analagous transformation that publishing for acting
the newspaper could only report HSBC had changed the deal, while Facebook could actually
encourage users to do something
publishing and action is no longer a choice - can do both
now have a response without managerial control
example two - flash mobs
they were promoted in “emails by bill”
wanted to prove that hipsters would do anything you told them to
hits belarus - eating ice cream in Minsk Square
the police showed up - the group became a problem (not the group eating ice cream)
it had been made illegal to act in concert - to be a group
when they entered the square, they weren’t a group
the livejournal page led to action - it’s a full cycle; they didn’t just bring their
ice cream - they also brought their cameras because they wanted to document the state’s
response
in less than 3 years, flash mobs went from being something to mock a certain class to political
protest
we tend to underestimate the potential of these tools because they tend to look frivolous
we don’t understand their potential
anything that allows group formation is political
so much of the meaning of the tool is in what the user does with it once it becomes social
what is all of this doing to the media landscape as a whole?
we’re living in the middle of the largest increase in the social expression of the human
race
1 - printing press/movable type
2 - point-to-point communications (telegraph, telephone)
3 - capturing sound and video
4 - broadcasting spectrum (radio, television)
curious asymmetry to them - the ones that are good at creating conversations are not good at
creating groups and vice versa
there was no medium for creating two-way conversation among groups (many-to-many) until now
there is no longer a distinction between consumer and producer
giving someone the ability to receive email means they can send email
the audience grows and becomes varied
the 5GB generated this year will be at the edges
the internet is also the mode of carriage for all previous media as it’s digitized
it’s also adding social dimensions to all existing media
to produce something for a lot of people to watch, read, etc., I have to take on a big burden for
production costs
if I’m wrong, I lose a lot of money
in an era of gutenberg economics, I decide which books are good and I publish them
all following media have had the same economics problem
filter and then publish becomes the model - see what’s good and then publish it
now, anyone can publish to anyone with a marginal cost of zero
it’s the first medium we’ve had that works with post-gutenberg economics
anyone can say anything to anybody and they frequently do
it’s too much content to filter in advance, and there’s no economic reason to do so
the question for a 15-year old today is not “why publish” but “why not
publish?”
many of the huge businesses built on the back of the internet have at the core of their business
model a post-publication filter
get to the good stuff after the fact, not before
the users are now well and truly engaged in the publishing environment
the user as publisher model:
1- Gnarly Kitty
a fashion-obsessed Thai student who posted about a fishing game
why would anyone publish that?
because she’s not talking to us - she’s talking to her friends
we’re not used to seeing things that are public but not in the public
then a coup happens in Thailand, and the government tells the media not to report about it
but Gnarly Kitty publishes the first picture of tanks in front of the parliament house and she is
now the go-to source
people are now flooding in and she becomes a global resource
then she posts about a phone she’d like to own
the users get upset and want more about the coup
she responds with a post that it’s *her* blog and it’s about her life
zuckerman: journalism has gone from being a profession to being an activity
she committed acts of journalism; she just did it while she was a concerned citizen
not connected to self-definition
this model is new
she doesn’t need the money to be a global publisher
she gets thousands of new readers and she tells them if you don’t like her content, then
leave
2 - Howard Forums
early blog about cell phones
can”t answer people’s questions about their phones, so he says hey, you all talk to
each other and he puts up a forum
is up to a billion pages this year because the expert users are solving problems for the new
users
tech support reps from phone companies will refer callers to the Forums
they have access to “reality,” which the engineers don’t
the kinds of questions that can only be answered when A has part of the answer and B has the
other part and they collaborate
users creating detailed technical documentation
it’s not all tech all the time, because users have gotten to know one another and they hang
out here together (they post pictures of their pets)
as a publisher, it’s easy to see that you’d get rid of the pictures of cats
but that misunderstands what is going on here
that both of these things are coming from the same web
they’re not doing one in spite of the other, but rather because of it
it’s the fact that the users care about each other is what gets them to do all of this
communities have to be for the members
the satisfaction comes from membership and recognition from the communnity
hosting that isn’t amenable to crowdsourcing solutions
communities need to get to know each other and share all kinds of things in order to do the
technical documentation
3- showed a still shot from Joss Whedon’s new show, Dollhouse
fan experience is that his shows get canceled, so they’ve already created a site to save it
from cancellation before it even airs
in the past, they’ve organized protests
they don’t trust the marketing department to explain to people why they should watch it, so
they do this themselves
there is no aspect of the information industry that users aren’t crawling into, including
the marketing department
users don’t always do this well
the pattern is usually extract the signal after the fact
they do always do it differently, though
grappling with that difference is the big question we have to deal with now
one of the big changes is that anybody in any part of the information business is now part of the
entire information business
no longer i work in television and you work movies - it doesn’t matter anymore
no longer that we produce the content and then the users go off and talk about it somewhere
else
creating community and arranging action are now part of production
not every organization should get into every part of the business, but publishers can now be
conveners of community
can allow amateurs in to extract value - that’s what we’re grappling with
it’s not a move from A to B but from one to many
the landscape itself is expanding
when the printing press came out, it wasn’t that people looked at it and said, oh now we
need a printing industry and this is what it will look like
little things turn out to be big deals
making books smaller meant more people could carry them (creation of octavo size)
if it’s hard for a thief to get a book out the door, that’s a feature
that little intuition sparked a revolution
everybody is everywhere and all the walls have fallen
everybody can see each part of the business; it’s all horizen and no barriers
what’s the next good thing to do?
the answer is most certainly to explore
experimenting our way into the future is what will show us what works
there is no roadmap for the period we are entering
q: what is the role of the professional librarian
a: liz lawley says libraries are “happiness engines;” the whole of the world that
deals with traditional publishing is now dealing with the split between lovers of the page and
lovers of the book; it’s easy to see the role of librarians as hosts of books, but if you
see sociable libraries as happiness engines, then the question becomes what set of things done in
libraries now would increase the happiness; one of the obvious answers is “collaborative
filtering” - helping the user find the next thing to read, watch, etc.; libraries have
typically serviced users one-to-one, but there are groups of people coming together and talking
with each other in the library; ideas make people happy, so what resources do we have to extend
that; one of the big resources we have is that we have “convening power” - it’s
unmatched in civil society; the cross-section that goes into a library is quite extraordinary; it
doesn’t have to be one-to-one, and there is a great deal of potential in experimenting with
many-to-many; even in the corporate world, libraries can join up people who should be talking
with each other; IBM example - “DogEar” plus a one-way mirror; allowed researchers to
tag URLs, although they’re not sharing the tags back to the world; two
geographically-dispersed research groups there discovered each other because they were tagging
the same resources, clearly with the same ideas; they actually called each other and then pooled
their efforts; this would never have happened from the top-down; “research is a famously
upside-down problem” so there’s no way one person at the top could have said these
two groups in two different countries will work together; when the users can see what each other
think (don’t apply the ontology in advance), people with similar world-views can be
connected; connecting users because they’re looking at the same information
q: if we spent our lives organizing information as a community, how do we tackle all of the new
information being created?
a: you can’t; you only have 2 chances to actively organize things - moment of creation and
moment of use; at creation, can try to add metadata, but at use stage, you can involve the user
and have them modify or verify the metadata; the problem becomes a little bit of effort gives you
a high degree of leverage, so have to find the right point where this happens; there’s no
way to apply the metaphor of the shelf to cyberspace; they have to do with automatic extraction,
inviting users to upgrade metadata at the point of use
q: what does this tell us about human nature that we might apply to things we do?
a: that is THE question, in part because it’s the one we need to answer but can’t;
used to think that the world was changing because technology was changing, but now thinks
we’re just not used to explaining human behavior without being paid or other extrinsic
motivation; we used to think the market was the public sphere and the household was the private
one, but that’s changing; Wikipedia makes no sense at all; what critics have missed is that
human nature contains an enormous amount of Gnarly Kitty motivation;public and private sphere are
existing side by side, can’t be explained purely by the market
q: the idea of expertise as opposed to popularity
a: if your skull is going to be cut open, you want it to be done by a trained professional; the
reverse is that you don’t need to buy music only in the presence of a record store
professional;
the closer things to come to life and death and one-off decisions with no reversability, the more
we want expertise; the places where there is an obvious right answer that is independent from the
social view; changes here are coming about in the end of the spectrum where what people believe
changes what is true; are SUVs a truck or a car? that decision was socialized, which got us to a
better answer than letting Washington decide; there’s no general “get ouf jail
free” card for experts; very often, the really interesting hybrids are where professionals
and amateurs come together; in most but not all cases in the information industry, it’s
headed to hybridization because it’s not the critical one-off decision; how many different
strategies can we apply to see where the cost versus value curve is
q: should we be worried about efficiency? should we be worried about experts? one of the problems
of community is that there are maturity issues that affect newbies (keep learning or does
everyone become an “expert”)
a: the social origin of good ideas; putting experts and amateurs together improves both groups
because when the expert has to teach, he learns; it’s the conversation between the two
turns out to be more powerful than pure amateur aggregation or pure expert knowledge; these
systems work not because they’re efficient because they’re effective after many
fruitless tries at low cost; resources don’t get tied up in the failures because it’s
easier to identify them; we’ve all been in that meeting where we realize we’ve
expended more energy talking about the idea than we would have if we’d just implemented it;
most Flickr pictures don’t have comments but it doesn’t cost Flickr anything;
that’s why these new systems look so strange to us
clay shirky, community, media, online2008, onlineinfo2008, user generated content

|
MacUpdate - Mac OS X -
20 hours and 17 minutes ago
oXygen XML Author 10.0 oXygen XML Author is a multi platform Visual XML Editor.
Supports visual XML editing driven by CSS stylesheets with specializations for DITA, DocBook 4 and
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instances, CSS for WYSIWYG like editing, interface actions for creating and editing lists, tables
and marking up specific content, validation, transformation to HTML or PDF.
WHAT'S NEWrelease notes not available at developer site nor in download at the time of this
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REQUIREMENTSMac OS X 10.4 or later and Java 1.5 or later.
DEVELOPER SyncroSoft
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Monthly submission - archiveSIC -
20 hours and 24 minutes ago
Le Dircom du Service Communication de l'entreprise observée dispose des Technologies de
l'Information et de la Communication depuis l'année 2000. Au regard du concept de
Communication Médiatisée par Ordinateur et de l'analyse de la transformation, par les
TIC, de l'activité de ce service, nous tentons de montrer en quoi il peut y avoir
révolution dans la fonction de Directeur Communication tant en termes d'organisation que de
méthodologie d'approche... jusqu'à proposer, via l'anagramme "Dircmo ", la nouvelle
appellation de "e-Dircom", accompagnée de ses déclinaisons opérationnelles en
termes de stratégie de CMO interne et externe (ou e-communication interne externe ).
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Rhizome.org Calendar -
22 hours and 35 minutes ago
[b]Sandro Djukić[/b] was born 1964. in Zagreb. He graduated at the Academy of Fine
Arts in Zagreb in 1989. In period from 1989 to1993 he attended Art Academy in Dusseldorf (class of
prof. Nam June Paik and prof. Nan Hoover). At the same academy he attended postgraduate studies
(class of prof. Nan Hoover) in period from 1993. to 1994. Exhibited in Slovenia, Germany, USA,
Italy, Serbia, Austria and Croatia and lectured at the numerous conferences dedicated to media art
(Rijeka, Zagreb, Plasy). In 1991. he received Croatian Artist Association Award.br / br / br /
Taxonomy of technological transformation (by Igor Markovic)br / br / The exhibition of Sandro
Djukić is demanding. It’s demanding for the author, but even more demanding for
the audience. Not as much by its form – although certain level of technological
and visual literacy is requred – as by its content, more precisely by the issues
it inquires and their heaviness. One of these issues is the nature of photography as a form of art
in this, more and more, digitalized world. Althoug digitalization of photography began (in its
rudimentary form) more than half a century ago, recent development of technology, with particular
relation to lowering costs of personal computers, storage media and digital cameras, results in two
important things.br / br / Photography does not go through chemical processing anymore, which
change its values. Not necessary in positive or negative way, but in its essence. Increasing
megapixels are not necceserily technologically improving the quality of photography, but adversely
excluding numerous possibilities the classic, anolog photography has to offer: from the moment of
taking a photograph to developing and processing it. Of course, speed is obtained, as well as
authenticity to some degree, but the question which remains unanswered (and often unquestioned) is
what is lost. Question raised in mid-nineties by Critical Art Ensamble i Geert Lovink refering to
information technology and digital communication is emerging in its new variant. The speed of
information transfer, as well as its quantity and accessibility, is rapidly increasing, but time
needed for processing remains the same – limited by human cognitive ability.
Does the limitation go toward superficiality and prefering quantity over quality? In photographic
discourse this question may be: Does increasing quantity of digital photographies leads to less
time to observe, analize and process it visually and/or intelectually?br / br / Sandro
Djukić is going even further. In a way he is reversing the question that Benjamin
asked in the 1930s (how has photography changed art?) to make it: how has technologicaly mediated
art (applied as in graphic design, but also the art market) changed photography? More and more
common artistic practices transformed what was essentially an art born in print into a salon art of
single pictures on walls, often incorporated in some multimedia instalation in which digitaly taken
photograph is digitaly presented or screened – never getting a chance to be
present in its intrinsic medium.br / br / What is in that proces changed in visual economy? The
very notion of visual economy is developed from the work of Deborah Poole, and places emphasis on
the organization of the production and exchange of images, rather than relying simply on an
analysis of their visual content: The word economy suggests that the field of vision is organised
in some systematic way. It is also clear that this organisation has as much to do with social
relationships, inequality, and power as with shared meanings and community ... For Poole, a visual
economy has three levels: the organization of production, encompassing both the individuals and the
technologies that produce images; the circulation of ... images and image-objects; and the cultural
and discursive systems through which graphic images are appraised, interpreted, and assigned
historical, scientific, and aesthetic worthbr / br / By removing the images from their original
contexts of production and circulation, and placing them into a gallery, the visual economy that
produced these images is negated or obscured in favour of a more neutral sense of the photograph as
raw material or a window onto history. Whit such an action single photographs, but also their whole
(in the form of photography data-base) becomes repositioned in relation to the time/place of thir
origin, and at the same time in relation to the time/place of their initialy intented purpose. That
is leading us to (maybe) the crucial problem of digitaly mediated photography: the question of
clasification, of taxonomy. That is the question more and more essential in many branches of
information and library sciences (especially in the theories of so-called semantic web), but also
unavoidable one for consuments of visual images, ranging from pornophiles probing the Net in search
for a distinct fetish, marketing experts deciding on media campaign’s visual images, or
common people trying to handle ever biger family albums. How to find what one is looking for in the
seemingly endless piles of photos (not to mention that very often they are incredibly alike each
other)?br / br / Analogy with another problem of classification of visual material is almost
inevitable. Every human fingerprints is unique (although the final scientific verdict is still
awaited), but the clasification of them is a problem yet unresolved. In case of photohgraphy
confirmation is much easier. Acoording to the laws of physics two objects can not occupy the same
space in the same time, therefore, no matter how short exposition is, even bursted shooting allways
will result with a set of very similar (to the point of concealment), but not the same photographs.
System of clasification, however, can not benefit from such evidence, as analogy with the history
of dactiloscopy unmistakably shows.br / br / An important first issue is that any one image has
varied content, which may be available either consecutively or concurrently to the same or to
different viewers. These multiple ways of seeing have been discussed over the years, but it’s
still a very open field. It is worth noting here the contrast with textual data. While textual data
can have a multiplicity of content and meaning, in terms of the discrete elements of a query, the
visual and linguistic content are homologous. The fundamental building blocks of text databases are
ASCII character strings representing words that have a direct semantic interpretation.br / br / In
contrast, the pixel values making up digital images have no inherent significance. Considerable
processing of the image is necessary even to infer the presence of a simple shape like a circle,
let alone a complex object such as a tree. Direct comparison of image bitmaps can tell us only one
thing about a given pair of images – whether they are identical or not. Nothing
can be deduced about their similarity in terms of the objects they contain, or scenes they
represent.br / Art history and its pertaining theories are rich in narratological, iconographic,
multidiscursive and other attampts of clasification of visual material, ranging from already
classics like Panofsky to contemporary, technologicaly highly sofisticated theories of Ornager and
Rasmussen (among others), however there is still no universaly applicable method of catalogizing
photographies, other then on a very basic, bumpy level. Neither contemporary catalogization of
image types nor more traditional iconography just aren’t a match to the problem.br / br /
Maybe the premier value of Sandro Djukić’s exhibition lay in the fact that,
thorough playing with his own archive, thorough permutations and variations of its parts, excessing
from one media to another, from one technique and technology to another clearly pointing to the
problem itself.img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"img
src="http://feeds.feedburner.com/~r/rhizome-announce/~4/472403430" height="1" width="1"/

|
Guardian Unlimited -
1 days and 8 hours ago
divimg alt=""
src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.15.1/5732?ns=guardianpageName=Business%3A+Ford+may+sell+Volvo+as+car+sales+worsench=Businessc3=The+Guardianc4=Ford%2CAutomotive+industry+%28Business%29%2CUS+economy+%28Business%29%2CSweden+%28News%29%2CUS+news%2CBusinessc5=Motoring%2CNot+commercially+useful%2CBusiness+Markets%2CUnclassifed+Contributors%2CUS+Economyc6=Mark+Milnerc7=2008_12_02c8=1127208c9=articlec10=GUc11=Businessc12=Fordc13=c14=h2=GU%2FBusiness%2FFord"
width="1" height="1" //divpFord may sell its luxury Swedish marque Volvo as part of a strategic
review of the business. The struggling carmaker made the announcement yesterday as the fragile
state of the global motor industry was underlined by plummeting sales figures for November.
/ppToday, Ford and its fellow US carmakers, General Motors and Chrysler, will submit business plans
to Congress in an effort to win backing for a $25bn (pound;17bn) emergency aid package. Ford's
initiative came amid more bad news from the ailing industry as economic gloom and a dearth of
consumer credit continue to hammer sales. Latest figures show sharp falls in car sales in Belgium,
Italy, Sweden and France last month. /ppThe worst hit was Spain, where sales have fallen by almost
half - the most dire data since 1993. The government is already budgeting for an euro;800m
(pound;680m) package to help the automotive industry amid fears it could shed 50,000 jobs. Car
sales fell 18% in Japan and were down 8.6% in South Korea./ppIn the UK, where sales fell by more
than 20% in September and October - the November figures are due this week - Aston Martin said it
was seeking cuts because of falling demand. The carmaker said it could cut staff by 300 and reduce
the number of temporary workers by a similar amount because of the downturn./ppThe company, which
has already extended the Christmas holiday shutdown by two weeks, employs 1,850, mainly in the West
Midlands./ppUlrich Bez, Aston Martin's chief executive, said: "Like other premium car brands, Aston
Martin has been forced to take action to respond to the unprecedented downturn in the global
economy. These are regrettable but necessary measures in the extraordinary market conditions we all
now face." /ppThe poor sales figures in continental Europe will make grim reading for British
carmakers as the bulk of cars made in the UK are exported and a number of factories are already
taking extended Christmas breaks. "The financial crisis and the weaker economy is now hitting the
auto market full force," said one European automotive industry executive yesterday. /ppShare prices
tumbled in Europe and the US yesterday as fears about recession and job cuts took hold. In London
the FTSE 100 share index fell more than 5% to 4065.9 and there were also falls of more than 5% in
the main indices in Frankfurt and Paris. In the US the Dow Jones industrial average was 4.8% lower
at 8,405 in the early afternoon./ppFord's decision to launch another strategic review at Volvo -
only 12 months after the last one - appears to be aimed at helping to win Congressional approval
for the emergency aid. The big three US carmakers were warned by Democrat leaders last month that a
bail-out would not be forthcoming unless they came up with credible restructuring
plans./ppYesterday Ford said the review at Volvo was "in line with a broad range of actions Ford is
taking to strengthen its balance sheet and ensure it has the resources to implement its product-led
transformation plan". /ppVolvo, which was part of Ford's stable of marques under its luxury
division, the Premier Automotive Group, has been looking increasingly isolated since the sale of
other PAG brands - first Aston Martin and then Jaguar and Land Rover. Its sale would also help to
reassure Congress that any funds would not be used to support overseas subsidiaries. /ppOther Ford
asset sales include an agreement to sell part of its stake in the Japanese carmaker Mazda. The US
carmakers are not the only ones seeking aid from governments. Volvo and Saab, which is owned by GM,
are reported to have approached the Swedish government for financial help./ppThe European
commission has pledged to help the car industry as part of a euro;200bn stimulus package and the
UK's pre-budget report included measures to boost sales, although the industry would also like to
see carmakers' finance arms have access to the funding being provided to banks./pdiv style="float:
left; margin-right: 10px; margin-bottom: 10px;"ullia
href="http://www.guardian.co.uk/business/ford"Ford/a/lilia
href="http://www.guardian.co.uk/business/automotive"Automotive industry/a/lilia
href="http://www.guardian.co.uk/business/useconomy"US economy/a/lilia
href="http://www.guardian.co.uk/world/sweden"Sweden/a/lilia
href="http://www.guardian.co.uk/world/usa"United States/a/li/ul/diva
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Guardian Unlimited -
1 days and 8 hours ago
divimg alt=""
src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.15.1/26248?ns=guardianpageName=Comment+is+free%3A+A+late+calling+to+accountch=Comment+is+freec3=The+Guardianc4=Banking+sector+%28Business%29%2CCredit+crunch+%28Business%29%2CEconomics+%28Business%29%2CMortgages+%28Money%29%2CBorrowing+and+debt%2CMoney%2CBusinessc5=Personal+Finance%2CInvestments%2CCredit+Crunch%2CBusiness+Markets%2CProperty+Mortgages+and+Interest+Ratesc6=Will+Huttonc7=2008_12_02c8=1127135c9=articlec10=GUc11=Comment+is+freec12=blogc13=c14=Comment+is+freeh2=GU%2FComment+is+free%2Fblog%2FComment+is+free"
width="1" height="1" //divpA rare silver lining in this recession is that a veil of mystery is
being lifted from the longstanding lending practices of British banks. Suddenly they are understood
as not necessarily always in the best national economic interest./ppMortgage and business borrowers
alike are newly empowered by the pound;37bn bank bail-out, and change is afoot. Yesterday the Royal
Bank of Scotland, now 58% owned by the taxpayer, promised it would give distressed homeowners six
months' grace before it moved to repossess their property. Last week it said it would guarantee the
level and price of its overdraft commitments to small business until the end of 2009 - providing,
it qualified, the risks of their situation did not substantially change./ppThese are concessions of
the sort that have not been made in any postwar recession. They make it impossible for
Lloyds-TSB/HBOS not to follow suit. HSBC will not want to be outdone. Only Barclays, suffering the
burden of the bail-out terms from its sovereign wealth fund investors, is likely to cling to the
banking tradition of being providers of umbrellas except when it is raining. It will no longer be
politically acceptable./ppBankers, in fairness, are the custodians of other people's money. They
have to provide cash to their depositors whenever they want it, even as they tie it up in loans to
homebuyers and business. This confidence trick requires careful managing. British banks' approach
has been to keep their lending as short-term as possible, to have it collateralised against bricks
and mortar, to keep tight control at headquarters and to recall loans at the first sign of
trouble./ppIt works, but it is brutal. It does not favour long-term investment. It biases lending
towards property rather than business innovation. It does not favour manufacturing industry that
needs most support in downturns. It makes home ownership high risk for working-class families. And
it exacerbates recessions./ppThere is another approach, more widely used in mainland Europe and
Japan. It is best illustrated by a story from yesterday's Financial Times about the Reading-based
Magal Group. Owner Gamil Magal wants a pound;1.5m loan from RBS to tide over his engineering firm
during the recession, collateralised against pound;12m of assets. The company is solid but now
losing money; properly supported it might survive. In Europe and Japan, banks tend to be supportive
of their Magals, with whom they have long-term relationships. They certainly demand restructuring
and redundancy, but they shepherd the scaled-back firms to recovery, offering not just finance but
advice and business knowledge./ppIn Britain banks do not support such relationships. But they do
know British financial protocols. RBS, says Magal, responded to his request by sending him an
insolvency expert. When RBS was privately owned, he would not have dared complain and tempt such
awesome power of life and death. In today's climate, he feels he can go public./ppIf the banks
together support all the firms in the manufacturing value chain then each individual firm is more
likely to pull through. Magal needs supporting, but so do his customers. RBS cannot have an open
chequebook, but unless it and other banks are more collectively accommodating to firms' requests,
they create the very risks RBS is alert to./ppUK banks have never been properly accountable for
their actions, hiding behind the myth that, as their decisions are taken in markets, they are
necessarily efficient. They are not. If more businessmen speak out, and the government has some
guts, the next 18 months could see a transformation in British finance. It is long
overdue./pp· Will Hutton is executive vice-chair of the Work Foundation a
href="mailto:will.hutton@observer.co.uk"will.hutton@observer.co.uk/a/pdiv style="float: left;
margin-right: 10px; margin-bottom: 10px;"ullia href="http://www.guardian.co.uk/business/banking"UK
banking sector/a/lilia href="http://www.guardian.co.uk/business/creditcrunch"Credit crunch/a/lilia
href="http://www.guardian.co.uk/business/economics"Economics/a/lilia
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pligg - published -
1 days and 9 hours ago
In Cairo the the repairing culture is very widespread. The repair represent a micro economy which
transforms the urban space becoming a solid inertial shape that offers resistance to the global
economy transformations. Repairing culture is opposed to the city wear and it takes the look of a
continuous and collective practice where survival rises to ethical value. » <a
href='http://www.repairingcities.org/home.htm'>original news</a>
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Standblog - Commentaires -
1 days and 10 hours ago
pA l'horizon 2010, Firefox devrait être une véritable plate-forme de
développement, un peu comme Air./p pHTML5 permet d'avoir une base de donnée
coté client si je ne m'abuse =gt; il faudrait un bon outil pour les développeurs, un
peu comme ce que propose (oui je sais, je le ramène souvent) WebKit avec son inspecteur,
onglet Databases./p pIl y a des extensions pour Firefox, ok, mais des meilleurs outils
intégrés seraient tout de même assez agréables. Opéra propose une
pile pour débugger le JS : on ne voit pas simplement la ligne et l'erreur, mais les appels
qui ont conduit à l'erreur. C'est très pratique, ça serait bien d'avoir
quelque chose de similaire dans FF./p pJ'utilise aussi LiveHTTPHeaders pour Firefox, j'aimerais
beaucoup qu'un tel outil soit intégré dans le débuggueur, d'autant plus
qu'avec Ajax, on a besoin d'avoir plus de moyens de tracer ce qui se passe de manière
invisible.br / Par exemple, si on avait un LiveHTTPheaders-like avec un filtre (sur le nom de
domaine, au moins) et le moyen de voir ce qui a été transmit en POST, ça
serait excellent./p pEt aussi bien sûr, un moteur de rendu irréprochable. Dans un
autre commentaire, je parlais des transformations, du texte mal rendu après une rotation.
C'est un exemple de chose qui peut paraître un peu gadget, mais si tu regardes un graphique
comme a href=http://www.datafm.com/images/ComparisonTable.gif
title=http://www.datafm.com/images/ComparisonTable.gif
rel=nofollowhttp://www.datafm.com/images/Compar.../a ça permet d'avoir des cellules de
taille fixe et non dépendantes du contenu des titres. C'est quelque chose qui peut permettre
d'apporter une meilleur lecture d'un tableau de données.... mais il faut que ce soit
très propre./p pWebkit propose Save as application, dans le lab de mozilla il y a quelque
chose de comparable. J'avoue avoir été déçu, j'espérais que
ça ne soit pas un simple raccourçi bureau à peine différent.br /
J'avoue ne pas avoir suffisamment lu les specs des normes à venir mais j'espère qu'il
est prévu de pouvoir définir des toolbars pour les sites convertis en applications,
sinon Mozilla pourrait peut-être se pencher sur le problème et faire des
propositions... toujours dans l'optique d'être une plate-forme pour développeurs, mais
orienté Web et standards (bref : je ne parle pas de XUL et toutes ces choses qui ne me
parlent pa).br / Autre exemple, si on pouvait détecter le mode desktop et définir des
menus (au sens OS du terme, mais qui fassent des appels à des méthodes javascript de
la page, avec la possibilité de définir des raccourçis claviers) en
conséquence, je serais ravi./p pToutes les administrations de sites ont des menus en
pagaille, et une approche plus desktop serait tr&e | |