Website: http://1and1.co.uk/

It’s no wonder that Web developers have built over 50 million websites on its sturdy back, or that so many designers would never dream of using anything else. For the sake of this article, let’s agree that WordPress is the way to go, no looking back. With that established, let’s lay out a 15-step checklist to help you create the perfect WordPress website.

Edited: Gaëlle Krikorian and Amy Kapczynski
Contributors: Ahmed Abdel Latif, Philippe Aigrain, Jeffrey Atteberry, Yochai Benkler, Yann Moulier Boutaing, Carlos Correa, Laura DeNardis, Sarah Deutsch, Peter Drahos, Hala Essalmawi, Rick Falkvinge, Sean Flynn, Vera Franz, Spring Gombe, Anil Gupta, Ellen ‘t Hoen, Charles Igwe, Eddan Katz, Kannikar Kijtiwatchakul, Gaëlle Krikorian, Lawrence Liang, Jiraporn Limpananont, James Love, Leena Menghaney, Viviana Munoz, Sisule F. Musungu, HeeSeob Nam, Chan Park, Eloan Pinheiro dos Santos, Achal Prabhala, Onno Purbo, Manon Ress, Caroline Rossini, Susan Sell, Sangeeta Shashikant, Roberto Verzola, Jo Walsh
Publisher: MIT

Website: Free eBook download

Discover Adobe® Kuler® — the web-hosted application for generating color themes that can inspire any project. No matter what you’re creating, with Kuler you can experiment quickly with color variations and browse thousands of themes from the Kuler community.

DID YOU KNOW…

Adobe Kuler is now available as a tablet app

The Adobe Kuler app, an extension of the full Adobe Kuler service, enables you to generate and view color themes on the go. Initially available for Android only.

Kuler is available online at no charge

Explore, create, and share color themes.
Try Kuler now

Kuler is accessible from your favorite Creative Suite 5 software

Explore, search, and create new color themes right where you work with the Kuler panels built into Adobe Illustrator® CS5, Photoshop® CS5, InDesign® CS5.5, Fireworks® CS5, and Flash® Professional CS5.5 software.
See more features

web: http://kuler.adobe.com/

I think in moving images, and I don’t think moving images are objects.
I place these moving images in domain names. Each URL is the title and the location of each art piece. These websites are public, their ownership is exclusive. Domain names are one of the internet’s few scarcities. They are unique, they can’t be forged or copied.

This contract explains the rights and duties of the artist and the collector, to make sure the work remains intact as long as possible. It was drafted by Aernoud Bourdrez, attorney at law. You can download the document here. It can be used by anyone who wants to buy or sell an art-piece-in-a-domain-name.

web: Rafaël Rozendaal

http://subtlepatterns.com/

Do not fear the internet

With contributions by Rudi Laermans, Maurizio Lazzarato, Rob van Kranenburg, Martijn de Waal, Armin Medosch and others

http://s.coop/beyondprivacy

Party Cam: Use your web camera as a party cam, documenting the party to your local hard drive. You can later on look through the archive to find all the highlights from yesterday’s party. Or why not share your fun with others on the Internet?
Surveillance: Use your web camera as a simple surveillance camera, documenting the things happening in its view.
Share in Style: Publish images on the Internet with dynamic text and custom made overlay images.

Free: The program can be freely downloaded below for private, non-commercial use. No nagging, no trial period. See the online manual for installation instructions.

Website: http://lumai.se/bc.html

In an interview with The Atlantic’s Kasia Cieplak-Mayr von Baldegg, director Ben Mendelsohn explains, “The issue of how this infrastructure is hidden fascinates me. Andrew Blum has a book coming out in May about physical Internet infrastructure, which I’m very excited for. He was giving a lecture and handing out postcards of “data monuments” in New York City, and I asked him: if these are monuments, what do they reveal about the culture that built them? Their message is really one of ambivalence. Service providers need to let potential clients know where they are, but they generally decline to make their presence widely known beyond that marketing purpose. Andrew did say that he envisions ”brewery tour” style visits or class field trips to Internet buildings in the future, and I think that would be great, but the industry is not there yet.”

Website: http://www.codecademy.com

http://www.easyrgb.com/index.php?X=SEEK

Many other tools on the site

Color calculator Converts color data to different color standards (RGB, CMYK, L*ab, L*ch, L*uv, Hunter, XYZ etc.). All the math implemented in this calculators is available in the math/formulas page.	Create color harmonies From your RGB colors it creates colors complements, harmonies and themes. It can be used to easily create a Web site color theme or to select good trim and accent colors for your home decorations.
From RGB values to commercial tints Matches your computer generated RGB values to color cards, paint lines, inks, fandecks, standards and more… Helps you find a commercial product matching your computer generated colors. Also let you get cross-products matches of paint and ink products. Transforms “virtual” colors in “real world” references.	From commercial tints to RGB values Search through our commercial tints database for specific color codes or names. Once selected the desired color, find the closest match in competitors’ fandecks and color cards, create harmonies or get full chromatic data.
	Software and color database We can supply software and color database to perform this site’s services without the need to be on-line all the time. Popular chromameter interfaces are also available upon request.
Color tutorials You will find a rich collection of color related information here. Math and formulas, FAQ, useful links, monitor resolution notes and much more… A constantly updated source of useful color tips.	Freely submit your tints We will be glad to freely post readings of your tints samples on our pages. Before sending us your color cards, fandecks or color collection please contact us first.

http://www.easyrgb.com/

Easy Website Building Tools
Onepager is the easiest way for small business owners to setup a professional looking website in minutes.

Easy to Update & Maintain
Our interface allows you to easily update and maintain your website on your own. Save money and never hire a developer again!

Professional Look & Feel
Give your customers a positive first impression! Create a website with our professionally designed themes or create your own look and feel.
Get Found By Customers
Sites built with Onepager have the best standards for search engine optimization so your customers can easily find you online.

Helpful Website Analytics
Get insightful analytics on where your users are coming from and how they are finding you through your dashboard.

Use Custom Domains
Your domain name is important to your business’s online presence. Purchase one through Onepager or use one you already own.

You can test out the interface and tools before committing

website

some options:

https://www.squarespace.com/templates/

http://cargocollective.com/

Onepager

Creating your successful artist website is not about simply displaying art. It’s about engaging your site visitors through a compelling story about you as an artist that includes your artistic vision and your ability to create unique works. Your story should be interwoven throughout the structure of the website in such a way that visitors’ navigation through your site should reveal different aspects of your larger narrative.

The resulting relationship from visitors’ encounter with your site’s narrative is what has the potential to create audiences and potentially generate opportunities and sales for you.

The significance and potential of your website will allow it to function as the anchor of your artistic online identity. It is a place where you can maintain full control of your personal narrative (artistic journey, history and vision). It should be the most official and complete version of your artistic identity available on the web.

CONSTRUCTING A NARRATIVE:
Just like the blank pages of a book or white walls of a gallery, your website should be a simple and stark background that highlights your unique vision and ability. The goal is to use the website design and content to present a clear narrative that weaves your story together in a way that it is accessible to a broad general audience.

The most basic, common, and effective narrative structure for your website is as follows:

Homepage - The homepage is a brief introduction to the intent and content of your website. It is here that visitors first encounter you and your work. It is also the place where the look and feel of the website should be established. This includes elements such as font, color scheme, layout, and logo (if one exist) that should be found on every page.

A standard artist homepage typically involves the strong pairing of one image that epitomizes your work or vision as an artist with sparse text that conveys basic information about you and the your site’s contents (ex. Lisa Smith. Graphic Designer. Futurist. Feminist.).

Selected Works – Works included on the website should expand upon the story introduced on the homepage.

You should not feature your entire body of work online, since it will make the site look cluttered and unfocused. Instead, make a selection that will give a viewer an idea of your style(s), theme(s), message, and breadth of work, while still conveying a sense of cohesiveness.

If you work in more than one medium (such as photography, performance, and painting), feature a few selected works from each. However, this should only be done if you have a reasonable amount of work in each medium, or if the selected works are in some way related to the works done in your primary medium.

Regardless of what medium is featured, all media should be sized and compressed in a manner that will allow it to quickly load on the website. Site visitors may lose interest, if they are subjected to a long wait before they can see or hear featured work. The specifications for the appropriate media file size will depend on the capabilities of whatever platform the website has been built upon. Therefore, it is up to you (or your website developer) to test the load time of the site’s media on several different web browsers (i.e. Firefox, Safari, Internet Explorer), before launching the final version of the site.

Artist Statement – The statement should demonstrate how the sparse description on the homepage blooms into a full-blown story about your vision and creative process. It may include information about your influences, inspiration and creative intent.

This is the area of the website that most clearly provides visitors with context for your work. It should be free of esoteric language and discipline-specific analysis, to ensure that it can be understood by a broad audience.

Biography/CV – Your biography and CV should connect your statement to your broader personal and artistic journey. This section should include mention of your training (apprenticeships and professional development fellowships), past experience working in the arts (teaching, conference presenter, commissions), awards, grants, and exhibitions.

Store/Representation (optional) – Knowledge of the entities that elect to represent and sell your work gives visitors a sense of your established (and potential) value in the art market. It also allows them to become part of your story, by enabling them to purchase the works.

If your art is being sold through a gallery or agent, it is worth listing their contact information, so potential buyers know where to turn to make their purchase(s).

Depending on your needs and resources, an online store may be an efficient way for you to sell art independently. Creating links through a service such as PayPal is an easy and low-cost way to integrate a purchase option into a website that will allow a buyer to use their PayPal account or credit/debit card to purchase art.

Press – This section serves as an archive of press coverage received by you, and thus presents a history of you as an artist in the public eye.

Over time, as the archive builds, you should weed out articles that have very little specific coverage about you (such as a review about a group show). You should also become more discerning about the news outlets represented.

Contact/Email List/Social Network – This is one of the most important aspects of the website, since it is the portal through which site visitors can interact with you directly. This section should contain one (or more) ways for visitors to be in conversation with you.

Email – Providing an email address is the most direct line of communication that you can make available between yourself and your site visitors.

Contact Form – A contact form offers optimal privacy for you, since it doesn’t require that you provide an email address. Visitors simply enter their email address and a message in the designated fields of the form. Once they have submitted it, it is sent to your email address and you have the option to respond directly.

Email List – Embedding an email list sign-up option allows visitors to submit their email addresses to you, via an eMarketing service, such as iContact, MailChimp andConstant Contact. This list can then receive mass messages from you about upcoming exhibitions, broadcasted interviews, fundraising campaigns, and other related matters.

Social Network Links – While your website is the foundation of an your online presence, social media networks* on platforms such as Twitter, Facebook, and Instagram provide a means through which you can post commentary and minor announcements, as well as correspond with your audience and fellow artists.

Most social network sites offer easy to embed code that will allow a direct link from an artist’s website to their social media account.

*You should note that current policies held by some popular social networking companies call into question the ownership of posted material. Some sites include in their user agreement a clause that allows the site to use images or materials posted on their service for marketing purposes. Therefore, you should be wary when posting images, audio or video of your work.

PUBLISHING THE STORY:
Once you have generated all of the content needed to populate your website, the next step is to upload it onto the internet. To do this, a crucial decision about the construction and maintenance of the website needs to be decided.

Hired Assistance vs. Do it Yourself (DIY)
Depending on your computer and internet literacy, you may grapple with the decision to hire an experienced web designer versus constructing a website on your own. The decision is informed by many pros and cons.

The pros of hiring a web designer include:
- Working with a designer allows for the construction of a completely customized website

- Working with a designer allows you to be hands-off with matters surrounding acquiring a domain name and hosting service, updating security features, conducting routine data backup, and of course web coding.

The cons of hiring a web designer include:
- Depending on what you want from a website, the initial fee for a designer can run from a few hundred to a few thousand dollars.

- In addition to the initial development and launch of a site, you will need to pay a designer to add new content to the website as well as run security updates, data backups, and other website maintenance.

The pros of the DIY approach include:
- If you have a strong command of coding, then you can have full control over the look, feel and operation of your website.

- If you have little to no coding expertise, there are a plethora of art-specific pre-fabricated sites (e.g. WordPress.com, Weebly, Wix that you can easily customize to develop a professional looking website. These sites often take care of security and back-up issues, leaving you to focus on the website’s content and aesthetic.

The cons of the DIY approach include:
- You are responsible for the continual maintenance and content update of your website, in addition to continuing your practice. – Even if you elect to use a prefabricated template service, you may find the need to pay an annual fee to add advance features on the website (e.g. video hosting, customized domain name, additional space).

- While prefabricated templates do allow for minor modifications, you must know some level of code to achieve a significant degree of customization.

- Should the company providing the prefabricated site fold, you may be is faced with the responsibility of transferring your data to another readymade service or considering converting to a custom-built solution.

If you elect to use the DIY approach to website design, a list of services that offer prefabricated sites specifically designed or well-suited for an artist website can be found here.

BEYOND PUBLISHING — MAKING AN ARTIST SITE VISIBLE
The internet is a vast library of resources. Therefore, once a publishing approach has been implemented and your website is live, it will need an ongoing marketing campaign to drive visitors towards it.

Methods for driving an audience towards your website:

Email List – In addition to informing audiences about important announcements regarding your career, email lists can be used to encourage people to revisit your website. Whenever new content is added to your site, an announcement should be sent out to the list. The announcement should be truncated and linked to the full announcement that is posted on the website. This will encourage people to visit the website to read the full story.

Know that in addition to collecting email addresses through your website, you can manually enter email addresses into your list. These can be acquired by receiving business cards from interested parties and having a paper sign-up sheet available at events where you are presenting your work. Make sure to avoid adding email addresses to your email list if you have not received consent from the address holder. Email recipients can report the unauthorized inclusion of their email in someone’s list to eMarketing services, which can lead to having your account deactivated.

Social Network – Social media allows you to do more than just interact with your audience. The ease in which you can connect with other members of the social media community also allows you access to another avenue through which you can expand your audience. With these expanding networks, you can drive more traffic to your site by including a link to your website in the social media profile. You can also post comments or announcements (with direct link to a specific page of your site), on your account feed.

Business Cards, Postcards and Emails – Any means of communication that you distribute should include mention of your website. General business cards and postcards that are advertising a specific event or show should have your website listed clearly on them. The signature of your email (the area right below your name at the end of an email) should also include a link to the site.

Search Engine Optimization(SEO) – SEO are strategies that can be used to elevate the presence of a website in search engine queries.

- Increased traffic means increased popularity.
The more people you can encourage to visit your site, the higher a search engine will position your site in a search result list.

- Search engines recognize words and associate them with websites
Whenever possible, your site should contain as many commonly used and discipline-specific descriptive words as possible. Everything from the file names of images, videos and audio files, to the website’s narrative should contain words and phrasing that people are likely to enter into a search engine. This will help increase the likelihood that the website will appear, when those words are entered into a search.

See Website Resources, by Lisa Szolovits , for a quick guide to popular website-building services and resources.

Toccarra Thomas is NYFA’s Program Associate, NYFA Source.

Article Published March 6, 2013

Masters in the conservation of new media art
http://www.hkb.bfh.ch/maconsrest.html

http://www.mediaconservation.abk-stuttgart.de/

Media art archives
http://www.gama-gateway.eu/
http://goldsen.library.cornell.edu/
http://www.mediaartbase.de
http://www.v2.nl

Networks
http://www.amianet.org
http://www.eai.org/index.htm
http://www.iasa-web.org
http://www.incca.org/
http://www.langzeitarchivierung.de
http://www.rhizome.org/art/

Organisations
http://www.imagepermanenceinstitute.org

Tools

http://www.fondation-langlois.org/visiteur/database/e/

http://www.imagepermanenceinstitute.org/shtml_sub/msqr.pdf

In working with any graphics application, it is important to understand the difference between vector and pixel graphics. Vector graphics describe the use of geometrical primitives such as points, lines, Bezier curves, and polygons to represent images in computer graphics [3]. It is used in contrast with the term raster graphics (bitmap graphics), which is the representation of images as a collection of pixels (dots). Vector graphics are math equations to define curves, generally have a smaller file size than raster graphics and also, can be scaled from tiny to massively huge billboards with no loss in quality. The letterforms for these words I’m typing are vector graphics. Bitmaps on the other-hand, are the types of images that a camera outputs, for example. Maybe your camera is a 5-megapixel camera, meaning it can record 5 million pixels per image. With bitmap graphics the more data about an image, then generally the better quality image, and thus a larger file size.

Gimp is one of the oldest free and open source applications. It is now 10 years old and is on par with major closed-source [4] applications. Gimp is primarily a tool you can use to edit all aspects of a bitmap image, from color retouching of photos, to painting on a canvas to fixing blemishes on a face, Gimp is chock full of tools. Its vector-based sibling is Inkscape, an Open Source drawing tool. With it you can make complex typography, make huge billboards, draw architectural plans and make lovely charts. This powerful tool implements the World Wide Web consortium’s Scalable Vector Graphics specification (SVG) and points out another strength of Open Source graphics tools in supporting free and open standards that won’t just vanish because a company closes shop, or locks down a format under proprietary patents.

Another important concept for graphics is the difference between two (2D) and three-dimensions (3D). Most graphics applications, including Gimp and Inkscape, are two-dimensional, meaning they deal with height and width of graphics, also called X and Y coordinates. Think of 2D graphics as a piece of paper. 3D graphics, like those operated on by the free software editor, Blender, add depth (Z-axis) to 2D graphics. This is what you see in the famous Pixar movies like Toy Story and Cars [5].
These typical 3D animations also add a fourth dimension (4D), time. While Blender does handle the fourth dimension by allowing 3D creators to animate, for these chapters, the concept of 4D also includes the concept of graphics through time and interactivity. When Casey Reas and Ben Fry developed Processing, a simple Java-based language and runtime for creating generative graphics[6], the tools for creating graphics primarily relied upon manual creation with Gimp and Inkscape, or more sophisticated knowledge of graphics programming in C/C++. Processing lowered the barriers for participation in creating interested graphics from code, and also allowed for these graphics to take on a life of their own through user interaction. It should also be noted that Inkscape, Gimp and Blender all offer forms of scripting and automation as well to enable creators to be extended quickly. The main difference between these three apps and Processing, is that Processing generates standalone applications which can be run anywhere. This is great for artists who are making interactive installations, but way too much manual controls for simple photo retouching.

In addition to these great free and open source tools that exist, there are projects as well, which focus on the community of graphics creation and on connecting together graphics applications into a coherently focused suite. The Open Clip Art Library encourages the upload and remix of public domain vector graphics under the guise of “clip art” and the Open Font Library goal is to build the world’s largest free and open collection of fonts [7]. The Open Clip Art Library has approximately 15,000 pieces of high quality public domain clip art, meaning anyone can do anything they want with these resources. The Open Font Library is still a fairly new project with ~40 high quality fonts that are either in the public domain or under the new SIL Open Font License [8]. The most notable font on the system is by famed kottke.org blogger, Jason Kottke. He created the super-popular font Silkscreen, a small bitmap-looking font used everywhere on the web. He recently licensed it under the Open Font License and uploaded it to the collection, signally clearly to other font creators that they can build upon it and make it better.

While all these projects exist in the free and open source software universe, the projects did not talk very much until two key projects developed. The first is the Create Project, whose goal is to provide a third-party space for creation applications to work together on standards, shared resources (palettes, brushes, patterns, keyboard mappings), and to encourage inter-project communication [9]. The other key development is the annual Libre Graphics Meeting [10] which is the major event where artists and developers come together to work on making free and open source tools better, seeing what is possible by artists, and massive amounts of cross-pollination to create the future for graphics pixel pushers.

The major difference to closed source proprietary drawing apps is that you can’t reign supreme over images. You can’t become a true pixel pusher. You can only be the pixel pusher that someone else wants you to be. By using Gimp, Inkscape, Blender, Processing or one of the many other free and open source applications, you can dig deep into the code and communities of these projects. You can even shape the direction of these projects by joining in the discussions, filing bugs about problems with the tools, and showing off how much you reign supreme over images pixel pusher.

Notes

[1] Please note, this is vast satire over learning tools rather than having a reason to use them. Also, please note, this should be called the cheese filter.

[2] See http://gimp.org, http://inkscape.org, http://blender.org, http://processing.org

[3] My Vector Graphics definition is based onhttp://www.webopedia.com/TERM/v/vector_graphics.html because of the object-oriented reference.

[4] I dare not link to the various Adobe applications you all know I’m referring to: Adobe Photoshop for the GIMP, Adobe Illustrator for Inkscape

[5] The irony of this is that 3D graphics are rendered back into a 2D representation onto a screen, or in a movie theater.

[6] See http://processing.org

[7] See http://openclipart.org and http://openfontlibrary.org

[8] See http://sil.org/openfontlicense (CHECK THIS URL)

[9] See http://create.freedesktop.org

[10] See http://libregraphicsmeeting.org

Jon Phillips, December 2007

PDF: Digital Artists Handbook: Graphics

PDF: Digital Artists Handbook: Licensing: copyright, legal issues, authorship, media work licensing, Creative Commons

PDF: Publishing your work

Pure Data, or PD for short, is a software written by mathematician and musician Miller S. Puckette. It  has become one of the most popular tools for artists working with digital media. Originally conceived in the late 90s as an environment to create sounds and to compose music, it was soon extended by modules to work with video and graphics. Pd is freely available for no cost, and it is Free Software in that the source code can be obtained, modified and distributed without restrictions as well. Pd runs on many operating systems including the big three: Linux, OS-X and MS-Windows.

PDF: Digital Artists Handbook: Pure Dataflow – Diving into Pd

What and who was it designed for ?

As the Processing web site mentions: “Processing is an open source programming language andenvironment for people who want to program images, animation, and interactions. It is used bystudents, artists, designers, researchers, and hobbyists for learning, prototyping, and production. It iscreated to teach fundamentals of computer programming within a visual context and to serve as asoftware sketchbook and professional production tool. Processing is developed by artists anddesigners as an alternative to proprietary software tools in the same domain.”

PDF : Working with graphics: Processing

The downside of this independence is that many artists find themselves more isolated, working alone at home rather than interacting with others at shared studios or where shared resources were previously found.

The Internet, being fundamentally a communications medium, offers potential solutions to this isolation, but the solutions themselves have, to date, largely dictated that collaboration happens in new ways, shaped by the technology. For some, the thousands of FLOSS coders for example, the tools have made possible projects that would otherwise be virtually inconceivable, but for other artists looking to enhance their existing practice with new digital methods the situation is perhaps more double-edged.

It maybe be useful to step back for a moment and consider what we mean when we talk about working, or collaborating with others. For a start it could be divided in to five broad types of collaboration:

PDF: Digital Artists Handbook: working with others

Website: http://newkindofbook.com/2011/04/digital-bookmaking-tools-a-roundup/

More and more I hear people talking on the subject of the preservation of internet art. It is a new medium and no one knows what exactly will happen. Will we still browse the web in 15 years? Will information be injected straight into our mind without any screens?

Art works should last a long time. I love seeing old art, and I think it’s not until an artist dies that we get the big picture of their work.

Many media came before the internet. Lots of those media were lost, and some were saved. Paintings, sculptures, books, celluloid, vinyl, tapes, they can all rot and wither. The internet is different. It is a universal, decentralized, universal library, controlled by no one.

When a file exists on the internet, it gets copied. If it is an interesting file, many copies are made. The data is no longer connected to any single physical medium, it exists on many locations at the same time. Old lost music and movies resurface as torrents. These torrent files exists on many machines and media at the same time. Those same movies might have deteriorated on celluloid. I think the internet is the safest place for data.

Operating systems, programs and protocols change all the time. The survival of software is both by emulation and translation. If you look at old video games, they have always survived. They are kept alive by communities of enthusiasts. Passionate geeks re-code old software for new platforms.

The context might change, but we will always be able to revisit old software in some form.
Transferring software to new platform is peanuts compared to preserving traditional art.
Sharks deteriorate in formaldehyde.

If something is interesting, it will survive. As long as someone cares, a copy will exist.

web: http://www.newrafael.com/digital-preservation/

Website: A-N Magazine article

2GB of Dropbox for free, with subscriptions up to 100GB available. Your files are always available from the secure Dropbox website. Dropbox works with Windows, Mac, Linux, iPad, iPhone, Android and BlackBerry. Works even when offline. You always have your files, whether or not you have a connection. Dropbox transfers just the parts of a file that change (not the whole thing). Manually set bandwidth limits — Dropbox won’t hog your connection.

Website: Dropbox
Website: Dropbox for ucl.ac.uk email address 500MB extra free!

web: http://www.shopify.com

1 >go to navigator on right > add layers by clicking on small square with turned up edge

2 >create your images on each layer (rem to click eye on left pic to view individual layers)

3 >click window in top toolbar > click animation, a box will appear at bottom of page >create new layers in this box to correspond to your layers in navigation box. eg: click the layer icon (small square with turned up edge) to duplicate selected frames

4 >rem to apply each layer to your image layer using the eye tool as before. > the speed of animation can be adjusted on drop down menu’s of individual images

Press sideways ‘play’ triangle to view animation

TO SAVE

5 >file >save for web and devices >make sure gif is selected > SAVE > you can then drag your saved file into browser to see what gif will look like online!!

• gut or txt2html for text -> html.
• PHP-PDB for Palm Doc.
• Pyrite Publisher. (might be gone – seeFreshmeat project page for some information.)
• Plucker.
• iSilo386.
• makedoc.
• rbmake for RocketBook format.
• makeztxt for ztxt format.
• htmldoc for HTML -> PDF conversion.
• HTMLtidy for fixing up the automatic HTML generated by “gut”.
• TCR.
• makelrf 0.3
• makebook for eReader format.
• methods originally developed by Daniel Durisfor iPod Notes conversion.
• Apple’s textutil command for RTF.
• Desktop Connection Library for Newton Paperback format.
• Mobigen.exe for Mobipocket format.
• Wine to run mobigen.exe on OS X.
• Componnents of mjBook for cellphone “.jar” files
• HAWHAW toolkit for the WAP sitehttp://mnybks.net.
• Calibre for ePUB format.

Website: http://culturescraper.heroku.com/

Anyone can contribute to a manual – to fix a spelling mistake, to add a more detailed explanation, to write a new chapter, or to start a whole new manual on a topic.

Anyone can start a manual – Since March 2011 we have implemented a new system (which we built ourselves) called Booki. With this new system we are handing over many more admin tasks and autonomy to ‘you’. This means you can start a manual without needing help from admins and you can also clone manuals, remix them etc. You can also just use FM as a toolkit to make your own book/manual about your favourite free software without it appearing in the FLOSS Manuals READ section if you want to. Our aim is to help you to make great manuals about free software not to ‘own’ your content or ‘sell your books’ (although if you want help with that we are pleased to help) so if you want to use FM as ‘just’ a toolkit then please go right ahead!

You can read and use the manuals in a number of different ways. They are available online in separately indexed chapters, and you can use the website as a reference base in this way. You can also view, download, or print each manual as a PDF or (since March 2011) EPUB for electronic book readers. It is also possible to ‘remix’ manuals to create a version that only includes specific aspects of a particular manual, or that combines chapters from two or more manuals in a single document. These can be downloaded and printed, added to websites, and used for any purpose. You can also print a manual, or an individually ‘remixed’ manual, as a book via the print-to-order service of Lulu.com.

http://en.flossmanuals.net/

Website: http://www.osflv.com

With over one million active users, the JW Player™ is the Internet’s most popular open source video player. It supports playback of any format the Adobe Flash Player can handle (FLV, MP4, MP3, AAC, JPG, PNG and GIF) and now supports HTML5 too. Additionally, the JW Player™ supports RTMP, HTTP, live streaming, various playlists formats, a wide range of settings and an extensive JavaScript API. The JW Player’s™ skinning functionality allows you to completely customize its look and its plugin architecture allows you to easily extend the player’s functionality.

Website: http://www.longtailvideo.com/

Website: http://www.libreoffice.org/download/

This time they’re offering 7 computer science courses:

Computer Science 101 http://www.cs101-class.org/
Machine Learning (one of the offerings this past fall)
http://jan2012.ml-class.org/
Software as a Service http://www.saas-class.org/
Human-Computer Interaction http://www.hci-class.org/
Natural Language Processing http://www.nlp-class.org/
Game Theory http://www.game-theory-class.org/
Probabilistic Graphical Models http://www.pgm-class.org/
Cryptography http://www.crypto-class.org/

And two entrepreneurship courses:

The Lean Launchpad http://www.launchpad-class.org/
Technology Entrepreneurship http://www.venture-class.org/

No tuition, no textbooks, no set class times (students get a week to
complete the assignments).

Dyn also provides update mechanisms for making hostnames work with your dynamic IP address, delivery of your DNS records to five DNS servers in five Tier 1 bandwidth datacenters around the world, fast propagation/reliable static IP caching for DNS TTL values and more.

Website: http://dyn.com/dns/dyndns-free/

Check out their free seminars on web development and digital publishing. Just this month they have seminars on state of the art web design techniques, as well asresponsive web design.

There are many programs to read and write PDF documents. All of the PDF readers in the following list are Free Software, respecting your basic four freedoms to use, study, share and improve them. This gives you control over your computer and helps protect your privacy. Read more…

Other proprietary alternatives to Adobe’s PDF reader also exist, but like it, their internal working is a trade secret and these programs do not respect your right to control your own privacy and data.

Help us translating the interface / the download webpages of your favorite PDF reader!

Golden Grid System (GGS) splits the screen into 18 even columns. The leftmost and rightmost columns are used as the outer margins of the grid, which leaves 16 columns for use in design.

Now, 16 columns sounds a bit much for anything other than huge widescreen monitors. This is where the folding, inspired by the DIN paper system and Unigrid, comes in. The 16 columns can be combined, or folded, into 8 columns for tablet-sized screens, and into 4 columns for mobile-sized ones. This way GGS can easily cover any screen sizes from 240 up to 2560 pixels.

website: http://goldengridsystem.com

http://www.google.co.uk/help/cheatsheet.html

This tutorial shows you how to enter data in an online spreadsheet to generate a set of placemarks in Google Earth and Maps. Google’s web-based, collaborative editing allows you and your team members to simultaneously enter data and instantly publish updates. Using this tool you could: showcase your organisation’s projects, programme sites or partners; map your offices, volunteers or resources; or visualise your data on local, regional or global scales.

Some of the new and improved features in Spreadsheet Mapper version 3 include:

• Create 1000 placemarks – add more if needed.
• Six simplified balloon design templates – add more if needed
• Simplified publication process
• Additional customisation options

Spreadsheet Mapper 3 uses Google Apps Scripts to help generate the KML placemarks and to provide useful tools. If you want to use the older Spreadsheet Mapper 2, which only uses spreadsheet formulas, but limits the number of placemarks and balloon templates, you can still access it here: Spreadsheet Mapper 2.0 tutorial

Tutorial Contents:

• Before you begin
• Let’s get started
• Enter your own information
• Publish and view your changes
• Need more or less rows?
• Sharing your placemarks
• What’s Next?
• Discussion, Feedback & Questions

Before You Begin

Spreadsheet Mapper is a powerful tool for mapping point locations. It starts with enough spreadsheet rows for 1,000 placemark points and provides a tool for adding additional rows. Adding more than a few thousand rows/points will slow down the spreadsheet mapper and produce a very large KML file, in which case you may want to look at other tools such as Google Fusion Tables.

http://www.google.co.uk/earth/outreach/tutorials/spreadsheet3.html

Mozilla Developer Network: https://developer.mozilla.org/en/javascript
JQAPI: http://jqapi.com
JS Fiddle: http://jsfiddle.net
Eloquent JavaScript: http://eloquentjavascript.net
Douglas Crockford JS Videos: http://www.yuiblog.com/crockford
How to Node: http://howtonode.org
DailyJS: http://dailyjs.com

Habari is different

While there are a number of technical reasons that highlight the differences and advantages Habari has over other blogging packages, a major component of what makes Habari different is its community participation model. Users who demonstrate a level of quality contributions to the project are granted more privileges within the project.

Networks! They are all around us. The universe is filled with systems and structures that can be organized as networks. Recently, we have seen them used to convict criminals, visualize friendships, and even todescribe cereal ingredient combinations. We can understand their power to describe our complex world fromManuel Lima’s wonderful talk on organized complexity. Now let’s learn how to create our own.

In this tutorial, we will focus on creating an interactive network visualization that will allow us to get details about the nodes in the network, rearrange the network into different layouts, and sort, filter, and search through our data.

In this example, each node is a song. The nodes are sized based on popularity, and colored by artist. Links indicate two songs are similar to one another.

Try out the visualization on different songs to see how the different layouts and filters look with the different graphs.

http://flowingdata.com/2012/08/02/how-to-make-an-interactive-network-visualization/

This entity reference includes mathematical symbols, Greek characters, various arrows, technical symbols and shapes.

Note: Entity names are case sensitive.

Math Symbols Supported by HTML

Greek Letters Supported by HTML

Other Entities Supported by HTML