Webgetarianism part 2

I have been thinking through the issues of how I want to exist online, at least as far as I can shape that. I am feeling my way to some form of ethical guidelines for myself as started in this post a few weeks ago.

The title ‘webgetarian’ above is something that my good friend Julia Hildebrand came up with when we talked through these issues. I like it… it outlines what I am trying to achieve for myself – some simple guidelines that make me feel ok about the way I am in the web.

One thing I know for sure, I don’t want to eat at the (proprietary) social media cafe anymore. It’s done. However, that brings up a quandary that I highlighted in part one of this series, but I’ll get to that.

For this moment, what I find really interesting since I started pondering this is that the old skool idea of a ‘homepage’ is really starting to be more appealing. By homepage I mean this site you are (probably) reading this on now – www.adamhyde.net

I like this idea of a homepage because its kinda somewhere I can determine my character online in the format I want to. I could, for example, make this entire site a photo diary if I wanted to. I could also make it a ‘microblog’, or just a thinky zone. Or I could do all of the above and more, which is what I think I will do. The point being, it is pretty much in my control. I don’t have to conform to the format of all those stink proprietary platforms. I can just do what I want…that is surprisingly enticing. So, in the words of the Laird McGillicuddy, it is time for a great leap backwards.

So.. back to the homepage and encapsulating this in a simple guideline and possibly my first, first principle of webgetarianism:

#1 Be your media

I hope that speaks for itself… however its kind of a simple idea, but also a pretty big idea. I need to think this through more and feel out what this really means in the larger picture for myself. For example, it has some interesting knock-on effects that I kinda like and am still pondering – if I really are my media then I can do cool things like advertise stuff I care about. That means I could put up ads in my site (I don’t want to be paid for them) that advertise things I find important. So, I will think about this and perhaps start sticking some of these in my posts. It is possibly an interesting inversion from ‘a word from our sponsor’ to ‘a word about some stuff I’m sponsoring’ (with free ads). Hmmm…I kind of like that.

So, my first principle is already taking shape in the real world ie. this site. My second, first principle is really about ‘other media’. Basically, if it is a closed source platform I don’t want anything to do with it… except, that there is a very real and bizarre possibility that an ugly troll might grab namespace real estate around the things I am involved with and contaminate the web with crap. I have recently been trolled and it gave me pause to think about such activities, and now this kind of behavior no longer feels as unlikely as it did even a few weeks ago.

So… as a move to reduce this kind of nonsense, there are a few things I can do which are consistent with my webgetarianism. First, is defensive – snap up namespaces in closed platforms The second is more positive – get better at SEO and broadcasting my voice. So the next principles (not in order (I will sort that out later) are:

#2 namespace grabs in proprietary platforms are a necessary evil


#3 be effective media

The last one is a little bit of a wide net to throw, I know. But it is a first cut attempt at trying to nail down some of these ethical guidelines for me. The above is really nicely wide in some ways – it can mean I need to drown out the troll voices, as well as taking up a kind of ‘kia kaha‘ positioning.  I need to be a strong and broadly heard voice about myself. This also feels good to me as a personal ‘inner strength’ position. I like it.

As a point of clarity, I want to make a fourth first principle to ensure the defensive namespace grab principle (#3 above) has some rigid parameters and doesn’t become a slippery slope:

#4 proprietary namespaces cannot contain content

This means I have a guideline that keeps me on the right side of the ethical line. I don’t publish content to proprietary platforms. They just hold namespace for me defensively. That means I have to be creative with strategies to engage, for example, with discussions that are relevant to me that occur in closed source platforms. For example, I should write responses to things I see elsewhere (eg in medium) in my own site, then contact the creators (most likely via email) and point them at my response.

So, that means I have 4 starting principles:

  1. be your media
  2. namespace grabs in proprietary platforms are a necessary evil
  3. be effective media
  4. proprietary namespaces cannot contain content

That is my starting position. More pondering to come.

Don’t Pay an Open Source Ransom

Recently, I have spoken with a number of people about projects whose model is to build something useful and open the code when someone pays them to do so.

It seems to me that this is a terrible model for ‘open source’ and I hope it doesn’t proliferate. The problem being that this sets the wrong incentive for projects. It is in effect encouraging them to hold the code ransom. When the right bidder comes along, the code then gets set free. I think funders and investors should refuse to put money into these projects and instead agree only to fund projects that are open source from the beginning. Otherwise we are incentivizing this ransom model which is bad for open source because:

  1. start open : we don’t want new projects to decide to close the code, when they might otherwise start open, because there might be a chance they can ransom the code at a later date. We want projects to start open.
  2. stay open : let’s face it, if a project is ransoming their code, then their heart and soul (and business processes) are not in open source – it is not fundamental to what they do and how they think. So how do you know they will stay open? We want projects to stay open.
  3. be open : open source is not just a license. It is a way of committing to sharing and collaboration. Projects that start closed and ransom their code are not going to be good faith open source actors. They are likely to hold the code close, not share, and be awkward (at best) collaborators. We want projects to be open.

We are the media, but I want to be free

I met with a friend a few days ago to talk through one of my next projects. This one is directly related to me – how do I raise my presence via the net without using social media. Being a social media consultant she was a little puzzled.

So we talked it through and I was able to refine my position a little. I’m trying to get out of any web and mobile platforms out there that are closed source. I’m tired of being the product for silicon valley business models and I’m also tired of being a neat little secondary product for all the governmental surveillance agencies out there – NZ and the US being two of the worst in the ‘free’ world. Of course, data security is a bigger story than just having accounts on sites like LinkedIn and I am going to take more care of this side of things also. I feel a little sheepish about this as I know how to keep myself secure-ish but I have fallen into some lazy patterns. Too trusting and complacent it seems.

I’ve done a lot of the personal data lockdown already. It doesn’t take a lot to tighten things up. I moved to a VPN provider (after a brief research to find one outside the US that doesn’t log any data), got a password manager and replaced all my frivolous passwords with stronger ones, and will do a few other things to lock things down a little.

But the main issue is that I want to be back in a web I can respect. It is kind of an ethical issue for me, similar to what fuels my vegetarianism. I do actually see it very much like I am becoming a web vegetarian. I want to get out of all these platforms and put myself onto another dietary path and make it work for me.

First up, I have some apparently easy targets but, interestingly, like all ethical journeys, every small step brings about small paradoxes that I am motivated to resolve – ethical harmony being a given as a navigational device.

For example… Medium… yes, yes, such an interesting… err… Medium. So very tempting. it offers the classic ‘go where the people are’ quandary. So I thought about this a little… where is my ethical line? What if I just wrote blogs at my home site (I am also warming more and more to the crusty old idea of ‘home site’, more on this later) and then cross-posted to Medium…wouldn’t that be ok? Would that be ok? What if I put a big banner on my replica Medium posts that pointed back to my home site? What if I just put an excerpt in Medium and pointed back to the full article so people had to come ‘here’ to read it? Well… hmmmm….

I let it sit for a bit and then I wondered what others thought about this. So I duckduckgo‘ed around a little in my newly installed Chromium browser, to look for the obviously well-discussed topic of how to maintain an ethically viable presence on Medium if you cared about privacy and open source and ran your own WordPress site. Surprisingly I couldn’t find anyone offering a way forward. But what I did find was a whole lot of banter about Medium vs WordPress as platforms. ‘Which one should you use?’ sort of thing… and this was very helpful. It made me realise that there is a turf war going on out there between one of the most successful open source platforms -Wordpress – and one of the most successful recent closed source blogging platforms – Medium. I just hadn’t been thinking about this space for a long time so it never occurred to me that this was going on. Of course it is makes total sense (I have almost perfect hindsight at times).

In fact, if you visit the Medium for Publishers page, it is spelled out quite clearly in their “not saying its Wordpress but it’s Wordpress” speak.  The comparisons of Medium vs some ‘other’ are clearly targeted at WordPress. That in itself is fine, I don’t take offence to how people want to do business with things like this. However, it did wake me up to the fact that every moment of your attention, every post, every comment that Medium has is one less moment, one less post, one less comment that WordPress doesn’t have. And that’s not ok by me. Using Medium means, to whatever degree you use it, not using WordPress; and that means that the direction of the flow is going the wrong way, it is going away from open source and towards closed source systems.

So that actually, and surprisingly, solved it for me. I’m getting out of Medium. Not that I actually used it. I had one post that I deleted already and I have a few comments on one of Nadia Eghbals‘ posts about open source and I’ll leave those up for now as I ponder where I am with legacy contributions I have made in closed systems. Step, think, step.

Next, I must think through LinkedIn. I initially thought that would be simple. Just kill my account. However, what about identity ‘theft’? Where am I with regard to malicious persons out there that may wish to contaminate the web with ‘therealAdamHyde’ rahrah. It is a good question and one I am going to have to think through. Needless to say, it is a very strange place we have come to with the net when proprietary platforms are contributing to your identity online even if you aren’t in them. That is a pretty quizzical paradox. How, how, how, did we let this happen? Sigh.

So, LinkedIn. I will at first delete all the profile information and then think on it a little. It is a very ponderous question.

One good thing, as a final point in this first part of this evolving story, is that making an effort to get out of these closed social media platforms has made me realise that I’m just removing a crutch. I am not totally sure they did much for me anyway. So it kind of forces me to think about the effort I am putting into other, possibly more effective, vehicles and upping that part of my profile-raising mission. Which is why I have started a newsletter which you can join over there on the right ————> (oops…unless you are ready this on mobile), why I am feeling more ‘at home’ with my home site, and why you are possibly reading this…

More about all this soon…

Simplified, Narrative, and Transient Attribution

I’ve been thinking through attribution models for many years. Mainly for books, but it is also interesting to consider how credit is attributed in open source projects. For both open source and books, I believe narrative attribution is a great model which escapes many of the problems of simplified attribution, but there are some interesting gotchas… so, let’s take a look at it….

A copyright holder is different to those people we attribute credit to for producing a work. Michael Jackson, for example, held the copyright for the Beatles songs for a long time, however we attribute the credit for those songs to Ringo, George, Paul and John.

I like to think of this ‘naming’ of contributors to be a type of simplified attribution. It is a handy tool to be able to hang credit on a couple of names. Nice and clean, not complicated, and easy to remember. It is also the way copyright works. Copyright requires some names to be cited as the copyright holder and many times we, out of habit, co-relate the named copyright holders with the credit for producing the work. It’s just how our brains work.

However, there are a couple of things we need to tease out here. First, named credit is not synonymous with the named copyright holder and we should be a little more careful with this and avoid conflating the two. Michael Jackson, for example, clearly did not write the Beatles songs, so we should be careful to avoid conflating credit and copyright.

Secondly, simplifed attribution doesn’t actually tell us much. It is not rich information. It’s a couple of names and we tend to attribute far too much credit to those names. We have a romantic notion of creation and we tend to want to think there is a ‘solitary genius’ behind things. If not a solitary genius, then a couple of identifiable people that we can attribute genius to collectively. But this is really fantasy. Great things come from many people, not one. One person by themselves isn’t capable of much. How individuals work together is the real story and these stories are far more complicated than the vehicle of simplified attribution can convey.

Those who know the story of the Beatles, for example, know there is far more complexity to how the songs were written and by who. Each Beatles song has its own history and unique way of coming into existence. The Song Michelle, for example, was mainly written by Paul McCartney, with a small portion a collaboration between McCartney and Lennon. Even more interesting, is that other characters came into play. According to Wikipedia:

McCartney asked Jan Vaughan, a French teacher and the wife of his old friend Ivan Vaughan, to come up with a French name and a phrase that rhymed with it. "It was because I'd always thought that the song sounded French that I stuck with it. I can't speak French properly so that's why I needed help in sorting out the actual words", McCartney said.

Vaughan came up with "Michelle, ma belle", and a few days later McCartney asked for a translation of "these are words that go together well" — sont des mots qui vont très bien ensemble. When McCartney played the song for Lennon, Lennon suggested the "I love you" bridge. Lennon was inspired by a song he heard the previous evening, Nina Simone's version of "I Put a Spell on You", which used the same phrase but with the emphasis on the last word, "I love you".

The actual story of how the song was written reveals a much more interesting story than the typical way we assign credit for these songs. I find the story of how something was made, and by whom, way more interesting and informative than a list of a couple of names. I also think it’s a better way to attribute credit as it values the contribution of each individual and brings forward the interesting ways in which they made the contribution. I think this kind of narrative attribution is a far more important way to credit people. It honours both the people and the process a lot better than the more simplified naming of names.

I want to say something about transient attribution in a bit, but before moving on I’d like to give another example of why I think narrative attribution is necessary as we move increasingly into a collaborative future. At FLOSS Manuals, an org I founded 10 years ago to collaboratively produce free software manuals, we automated simplified attribution. If you made an edit, your name was automatically added to the credits page. That worked ok for the naming of names. But how useful is this?

Well, if one person claimed to write the book, this might be useful. But below is an example which illustrates the problem…this is a screenshot of the credits page of a freely licensed book that was updated and rewritten every year by a different team of people for 4 or 5 years. So, the simplified attribution looks like this :


Well…you get the picture! It is pretty meaningless information, or at least, there is not much utility from this kind of attribution. It is, in short, too much information and too little information at the same time. A list of names like this is nothing more than a long list. It doesn’t highlight the many interesting ways individuals contributed, and no one here actually gets much credit at all from such as list because no one will read it. It is pretty much useless.

So…what can we do? Well, I believe we need to get away from simplified attribution at all times. We need to migrate to narrative attribution. We need to learn how to tell stories about how people make things and who was involved. It is for this reason that at FLOSS Manuals we started writing “How this book was written” chapters. Here is an example from the book Collaborative Futures which is now stored in the Wayback Machine. A brief snippet:

This book was first written over 5 days (18-22 Jan 2010) during a Book Sprint in Berlin. 7 people (5 writers, 1 programmer and 1 facilitator) gathered to collaborate and produce a book in 5 days with no prior preparation and with the only guiding light being the title ‘Collaborative Futures’.

These collaborators were: Mushon Zer-Aviv, Michael Mandiberg, Mike Linksvayer, Marta Peirano, Alan Toner, Aleksandar Erkalovic (programmer) and Adam Hyde (facilitator).

It is a short story but it goes some way to bring out a little of the nuance of how the book was made. We could have gone further but it gets the point across. We also made sure that this way of attributing credit was included as a chapter in the book. So wherever the book went, the story of how it was made travelled with it.

I think we could do the same with software. Let’s not conflate copyright with credit, for a start. Next, let’s proceed to a more interesting way of attributing credit. Not a naming of names, but telling a story of who was involved and how. Finally, let’s make sure this story is part of the software and travels with it ie. put the story in the source code repository.

But there is an obvious flaw to this approach. What happens when many people are involved over a long time. If you had been paying attention, for example, to that 29,000 pixel tall monstrosity I included as a screenshot above, you would have already deduced that narrative attribution is not going to do a better job of attributing credit than simplified attribution.

Just how long would the story be for that same book? It would be pretty long! So, how do we deal with this? Surely no one would read that story either? Good point! This is where I believe transient attribution comes into play.

Transient attribution is the recognition that large complicated works take a long time to make. In the case of software, the job pretty much never ends. A software must be updated to add features, or it may need to be refactored, updates needed for security fixes, or to meet the needs of new versions of operating system…it just doesn’t stop. That could mean that we just keep adding to the story, making it longer and longer as we go. But I would like to suggest another approach. I think it is more interesting if we were to tell only the story of the last phase leading up to the current version of the book / movie / software etc…there is really no need to tell the whole story all in one go…break it up into smaller parts. Learn to tell the story as it evolves. The software world already, kind of, does this in Release Notes. We commonly include Release Notes that document the differences between the previous and latest versions of the software. It is, in a way, the story of the software, but it is not the story of the people. Why not adopt this model for attribution too? Focus on the latest part of the story and call people out and celebrate their contributions for this most recent phase.

My recommendation is this:

  1. use narrative attribution to credit people for their work
  2. tell a story that says something about what they did
  3. use transient attribution to tell the story in smaller, more timely, pieces
  4. ensure the story travels with the software (ie. stored in the repo)

It doesn’t feel like such a stretch. It’s not that difficult to do either. The point is, software takes a long time to make, happens in stages, and different people with a diversity of skills come into play at different times. Let’s celebrate all the people that made it happen, and celebrate this as closely as possible to the moment they did the work. Further, the story of how a software is made is far more valuable to everyone than a simple naming of names. If we could take this short step (and it is not far) I think we would have richer attribution, happier communities, and a richer understanding about how software is actually made. And that, if you ask me, is a good thing.

Starting an Open Source Org

I was recently informed that only developers should start Open Source projects. Any other alternative was ‘unwise’.

Yet I think there is a great need to diversify open source operational models and starting a project is the most important culture-setting moment you will ever have. So this kind of advice is unintentionally limiting the possibilities for the new cultures and models that could evolve.  Further, these new models are much needed and are the way forward for open source into areas where it is not having much success. Open source needs to find better ways, for example, to produce software for ‘end users’ as the current culture/models are not doing this very well (and there are good reasons for this).

So, let’s ignore the advice. Instead, I want to suggest to anyone out there that cannot or will not write code (‘never admit you can type’) that you are the future of open source. Your vision, by virtue of the fact you do not write code, is exactly what we need to diversify cultures and methods in this sector. You need to bring this to the table as the ignition for a project and just find a way to make it happen which is consistent with your ideas and your vision. I’m proof that it can work. Don’t listen to those that tell you it is a bad idea, just make it happen.

Workflow Cost vs Pain

Today I talked with Lisa Gutermuth about workflow and software. We explored what avenues are available for finding the right software for your workflow. It is a common pastime and I suggested a simple taxonomy of solutions. It comes down to three simple categories:

  1. Just use anything –  a low cost, high pain strategy
  2. Find something useful – medium pain, medium cost
  3. Build a custom solution – high cost, low pain

Just use anything – this is where many organisations start. Essentially they grab ‘whatever is out there’ and cobble together a process to ‘make it work’. It might be that everyone has a word processor, for example, so they simply use spreadsheets and email them around. Or they may grab some wikis, use Google docs and sheets, rely on etherpad when needed (etc) and use these tools. This approach actually gets orgs quite far. The problem comes when your volume increases, or your operations diversify, or your staff increases etc. Over time, these types of tools can cause a lot of organisational pain and the inefficiencies created can force you to think about moving up the stack in the solutions taxonomy.

Find something useful – looking around your sector, seeing what others use and bringing these tools into your organisation, is often the next step. There are some good things and some bad things with this approach. Firstly, unless there is a startlingly obvious solution out there, you can spend a long time looking for the right tool. This can actually be harder than you think since software categories do not have a stable taxonomy. You can’t go anywhere, look up a table and understand what kind of software you need. So searching for the right software may take a long time.  Secondly, ‘off the shelf’ solutions will (most likely) only approximate your needs. That might be enough to get going. Bring these tools on board and start work. You might then, over time, need to hack it a little which might be cheap or it might be (if it is proprietary of if you get a bad vendor/developer), very very expensive. Or you could ‘Just grab anything’ and augment the tool with ‘whatever is out here’.

Sooner or later though, you are probably spending increasing amounts of money on the solution, and it doesn’t quite meet your needs so it is causing some amount of pain. So, while above options suggested this is a medium cost, medium pain approach, it can also turn out to be a high cost, high pain choice. I believe this is the position for many publishers today using expensive proprietary solutions that do not meet their needs.

The high pain – high cost effect takes place when the org ‘grows around’ the sore point (dysfunctional software). It is like the hiker learning to limp to cope with the pain of a stone in their shoe. Orgs will employ all sorts of tools to make up for the deficiencies and even employ staff to cope with the broken workflow. Best not to learn to limp as it can have long lasting organisational effects that are hard to dig out.

Build a custom solution –  the (seemingly) deluxe approach is to build the tool you need. This can be expensive if you take on all the costs yourself. The advantage is that you get what you need and if you do it well you build tools that help you improve your workflow into the future. Savings come in efficiencies and possibly, savings on staffing costs.

As you probably know, I am CoFounder of the Collaborative Knowledge Foundation. Our approach to the above is to design open source custom solutions for organisations but in such a way that they are easy to tweak and customise for similar orgs. Hence we are aiming to get the sectors we work with into the custom solution space and capture that elusive last category – low pain, low cost.

Down in Mississippi all I ever did was die

I’m a bit of an old school blues fan and 2 years ago I decided I would go check out the Mississippi. It was kind of an odd set up. I was in Columbia, Ohio for work and I figured…hell… this is about as close to the Mississippi as I ever got… so I should go check it out!

As it happened, that very weekend was a festival in honor of one of my blues heroes – Mississippi John Hurt. Amazing timing.

So, I hired a car and away I went. How far could it be? As it happens it could be over 800 miles. A drive that would also take me through Kentucky and Tennessee. This was all new territory for me and I was up for the adventure.

On the way I had some interesting stops. First stop was in Kentucky at a Saturday morning community fair. Awesome… I love fairs… cupcakes, maybe an espresso truck, second hand goodies…


…fluffy fairies in goldfish tanks…


…large men selling guns…


…hand guns…


…hand guns, rifles and gospel CDs…


It wasn’t the kind of country fair from back home where the most malicious offering is an old scrabble set with some of the pieces missing. Instead I was surrounded with firearms in great quantities, casually sold to whoever wanted them.

I felt out of my depth. So I headed south again and watched as Kentucky faded away in the rear view mirror. I was in a bit of a hurry. I knew I wouldn’t make it to Avalon, where the festival was, until the next day but I had to get somewhere to sleep. My choice was Tupelo – a famous place for me as my favorite John Lee Hooker song is about Tupelo

The first few lines being

Did ya read about the flood?
Happened long time ago
In Tupelo, Mississippi
There were thousands o’ lives

It rained, it rained
Both night and day
The poor people was worried
Didn’t have no place to go

The thing is… as I came up upon Tupelo it started to rain. I was still some miles from the city line and as I came up to the city boundary the rain got harder and harder. It wasn’t long before I couldn’t see more than a few metres, forcing me to slow the car to walking speed. It was the hardest rain I have ever experienced in my life. I began to have the feeling that this was something more than just another road trip…

I got to Tupelo and stayed the night at a crappy soulless hotel. Getting up early I discovered that Tupelo is actually very famous as it was where Elvis was born. I stopped in to see the humble house, worked out which store sold him his first guitar and then headed out towards Avalon.

As I drove, the roads were long and narrow. The towns small. I saw unhappy posters taped to power poles calling for information about a missing young local woman. A short stop for gas allowed me to overhear the attendants agreeing that gas should be free for anyone in (army) uniform. I passed farms with large homesteads that I imagined were once plantations of old… reality was starting to agree with my imagination. I drove onward…

Avalon is famous in the blues world. It is where MJH grew up, and Avalon Blues is one of Mississippi John Hurt’s most well-known songs and the title of his first album. Avalon is also where he was rediscovered many years later when blues fan Tom Hoskins went on a legendary journey to look for him, after refusing to believe, as most did, that he had been dead for many years.

The thing about Avalon is, it doesn’t exist. At least, it doesn’t exist now. The spot where I thought I would find a small town and a festival was a wasteland of empty shacks and potholes. It was dusty, weird, and full of ghosts. Further, it had no connectivity so finding my way to the festival was going to be tricky.

I drove around a bit. I went down a long road which came to a dead end with a sign saying the road was closed. I turned back but a car, the only one I had seen for a while, passed me and continued up past the sign. I followed them but lost them. The road turned bumpy. Somewhere it became heavy duty road works, heaped dirt and the impressions of giant graders.


Everything looked abandoned.


I drove on, turned down a narrow road that got narrower. The trees seemed to hang closer to the road and slowly obscure more and more of the sky… I passed a home with abandoned cars in the front and a family sitting outside staring at me as I drove slowly past.

I finally turned a corner and came into a clearing. There was a brick house on a small open lawn. Two cars were parked by the house but I couldn’t see anyone. I parked up and walked over to the house. Behind it I found half a dozen friendly faces looking at me…. one of them walked up to me. She looked weirdly like Mississippi John Hurt. It was Mary Hurt, his granddaughter. She had a large smile and shook my hand. It was like history just reached out and grabbed me.

We sat around and talked and played blues on the lawn. There is even a video of me hanging with the gang, playing guitar. I didn’t bring my guitar so Mary gave me one to play given to her by John Sebastian from the Loving Spoonful. I felt overwhelmed.

We played a bit and then Mary took us down to visit her grandfather’s grave. We drove a bit then got out in a deeply wooded forest. On one side of the road was a reasonably maintained cemetery. It was where the white people were buried. On the other side of the road, throughout the forest and in unmarked graves was where the black people were buried. Mary reminded us to be careful where we stepped…

We came to a small clearing.


It was the grave of Mississippi John Hurt. So simple and alone in this beautiful forest.


Mary told us stories about her grandfather. About Mississippi itself. How she hated it for how hard it is. How mean it has been. I wondered how I could think of the blues so romantically until now. How I hadn’t understood the sadness. I wondered about the history of rock and roll. How one of the giants was right here in front of me. How humble the scene was, how humbling it was.


We stood around and listened. We played some of his songs.


It was a very moving experience and I emerged from the forest with some new friends.


Oh manno

So, I realised I’m getting a little sick of talking about publishing. I love it so, sort of. But I never thought I would ever be ‘in publishing’, I kinda just fell into it. Or maybe more accurately, I fell, then woke up, and slowly came to realise I was in publishing.

But actually I’m not in publishing. I’m in a fascinating world and I kinda want to start talking about some of that. Isn’t that what blogging is meant to be about anyho? So…First up, baths. Yes…one of my favorite things. Infact I just built a bath platform…oh…maybe I’m grabbing too much credit…I didn’t actually grab the hammer and wood and stuff…hohoho….anyways…it looks like this:


It is at my cottage in NZ. I will be going there in December and can’t wait! My bath will fit on the platform and I can stare at the stars and the sky. Its going to be awesome.

The view from the bath should be pretty good…looks something like this:


…don’t expect me to hurry back 😉

Typescript and publishing systems

Wendell Piez and I just co-wrote a post for the Coko website about the quandary of going from MS Word to HTML:

The point being that publishers take badly structured Word documents and process them. Adding structure etc and then ‘throwing them over the wall’ to outsourced vendors to convert into other formats. When publishers add structure to documents, they often do this with MS Word and custom-built extensions. They simply click on part of the text, choose the right semantic tag, move to the next. Just imagine… how many publishers have built these custom macros (it is very common) and also imagine that each publisher must tweak the macro code with new releases of MS Word. Tricky and expensive!

So, the point is, why not do that in the browser using web-based editors? It not only brings the content into an environment that enables new efficiencies in workflow but it also means publishers don’t have to keep upgrading these macros all the time. Further, if the tools for doing this in the browser are Open Source…well… you get the picture – share the burden, share the love.

So the article is a small semantic manoeuvre to get the conversation away from the rather opinionated, but dominant position, that MS Word-to-HTML conversion is terrible because you can’t infer structure during the conversion process… The implication is that HTML isn’t ‘good enough’. Our point is, you don’t need to infer the structure because it wasn’t there in the first place. Plus, HTML is an excellent format for progressively adding structure since it is very forgiving – you can have as much, or as little, structure as you like with HTML. Hence we can look to shared efforts to build shared browser-based tools for processing documents rather than creating and maintaining one off macros.