fixing non-breaking space caracters

issue spotted by @kivikakk in https://github.com/github/markup/issues/1038

LICENSE.txt

@@ -2,11 +2,11 @@
 
 This book is *a collection* of writings. 
 
-## Licence of included texts
+## Licence of included texts
 
 Each text in this collection has it's own specific licence, defined by it's author(s).
 
-## Licence of the collection as a whole
+## Licence of the collection as a whole
 
 The collection as a whole (a collection has it's own copyright status in most juridictions) is released under CC-Zero.
 

README.md

@@ -47,7 +47,7 @@ Installer for Mac OSX: BasicTeX
 
 The package I am using: basictex-20150613.pkg
 
-### flushend.sty
+### flushend.sty
 
 This is a Latex extension that we use. It needs to be installed.
 
@@ -55,7 +55,7 @@ The method I used to install it: running this in the command line:
 
 ```sudo tlmgr install sttools```
 
-### titlesec.sty
+### titlesec.sty
 
 Another package we need to install...
 
@@ -72,7 +72,7 @@ Command:
 ```sudo tlmgr install tocloft```
 
 
-## Troubleshooting
+## Troubleshooting
 
 Errors that can occur during compilation:
 

content/manifestos-tmp/2006-realtime-art-manifesto.md

@@ -39,7 +39,7 @@ the most stunning art to grace this planet so far.
 
 Real-time 3d interactives can be an art form unto themselves.
 
-### 2. Be an author.
+### 2. Be an author.
 
 Do not hide behind the freedom of the user in an interactive environment to ignore your responsibility as a creator.
 This only ends in confirming cliches.
@@ -264,7 +264,7 @@ Interactivity design rule number one:
 the thing you do most in the game, should be the thing that is most interesting to do.
 i.e., If it takes a long time to walk between puzzles, the walk should be more interesting than the puzzles.
 
-### 7. Don’t make modern art.
+### 7. Don’t make modern art.
 
 Modern art tends to be ironical, cynical, self referential, afraid of beauty, afraid of meaning
 -other than the trendy discourse of the day-,
@@ -327,7 +327,7 @@ Use the language of your work to communicate its content.
 The audience should never be required to read the description.
 The work should communicate all that is required to understand it.
 
-### 9. Embrace technology.
+### 9. Embrace technology.
 
 Don’t be afraid of technology,
 and least of all, don’t make art about this fear.
@@ -352,7 +352,9 @@ Software is infinitely reproducable
 -the uniqueness is in the experience)
 Distribution of software is easy through the internet or portable data containers
 (no elitism; no museums, galleries, or festivals; from creator to audience without mediation -and from the audience back to the creator, through the same distribution media)
-10. Develop a punk economy.
+
+### 10. Develop a punk economy.
+
 Don’t shy away from competition with commercial developers.
 Your work offers something that theirs does not:
 originality of design,
@@ -382,7 +384,7 @@ cut out the middle man.
 Let the audience support your work.
 Communicate.
 
-### References
+### References
 
 Aristotle’s Six Elements of Drama 
 http://www.kyshakes.org/Resources/Aristotle.html

content/manifestos/2007-avant-pop.md

@@ -3,11 +3,11 @@
 **Thread baring itself in ten quick posts**
 
 
-### 1 
+### 1 
 
 Now that Postmodernism is dead and we're in the process of finally burying it, something else is starting to take hold in the cultural imagination and I propose that we call this new phenomenon Avant-Pop.
 
-### 2
+### 2
 
 Whereas it's true that certain strains of Postmodernism, Modernism, Structuralism and Post-Structuralism, Surrealism, Dadaism, Futurism, Capitalism and even Marxism pervade the new sensibility, the major difference is that the artists who create Avant-Pop art are the Children of Mass Media (even more than being the children of their parents who have much less influence over them). Most of the early practitioners of Postmodernism, who came into active adult consciousness in the fifties, sixties and early seventies, tried desperately to keep themselves away from the forefront of the newly powerful Mediagenic Reality that was rapidly becoming the place where most of our social exchange was taking place. Despite its early insistence on remaining caught up in the academic and elitist art world's presuppositions of self-institutionalization and incestuality, Postmodernism found itself overtaken by the popular media engine that eventually killed it and from its remains Avant-Pop is now born.
 
@@ -17,7 +17,7 @@ Avant-Pop artists have had to resist the avant-garde sensibility that stubbornly
 
 Avant-Pop artists themselves have acquired immunity from the Terminal Death dysfunctionalism of a Pop Culture gone awry and are now ready to offer their own weirdly concocted elixirs to cure us from this dreadful disease ("information sickness") that infects the core of our collective life.
 
-### 4
+### 4
 
 Now whereas Avant-Pop artists are fully aware of their need to maintain a crucial Avant-sensibility as it drives the creative processing of their work and attaches itself to the avant-garde lineage they spring from, they are also quick to acknowledge the need to develop more openminded strategies that will allow them to attract attention within the popularized forms of representation that fill up the contemporary Mediascape. Our collective mission is to radically alter the Pop Culture's focus by channeling a more popularized kind of dark, sexy, surreal, and subtly ironic gesturing that grows out of the work of many 20th century artists like Marcel Duchamp, John Cage, Lenny Bruce, Raymond Federman, William Burroughs, William Gibson, Ronald Sukenick, Kathy Acker, the two Davids (Cronenberg and Lynch), art movements like Fluxus, Situationism, Lettrism and Neo-Hoodooism, and scores of rock bands including the Sex Pistols, Pere Ubu, Bongwater, Tackhead, The Breeders, Pussy Galore, Frank Zappa, Sonic Youth, Ministry, Jane's Addiction, Tuxedo Moon and The Residents.
 
@@ -25,7 +25,7 @@ The emerging wave of Avant-Pop artists now arriving on the scene find themselves
 
 Literary establishment? Art establishment? Forget it. Avant-Pop artists wear each other's experiential data like waves of chaotic energy colliding and mixing in the textual-blood while the ever-changing flow of creative projects that ripple from their collective work floods the electronic cult-terrain with a subtle anti-establishment energy that will forever change the way we disseminate and interact with writing.
 
-### 5
+### 5
 
 Avant-Pop artists welcome the new Electronic Age with open arms because we know that this will vastly increase our chances of finding an audience of like-minded individuals who we can communicate and collaborate with. The future of writing is moving away from the lone writer sitting behind a keyboard cranking out verse so that one day he or she may find an editor or agent or publisher who will hype their work to those interested in commercial literary culture. Instead, the future of writing will feature more multi-media collaborative authoring that will make itself available to hundreds if not thousands of potential associates around the world who will be actively internetworking in their own niche communities. Value will depend more on the ability of the different groups of artist-associates to develop a reputation for delivering easily accessible hits of the Special Information Tonic to the informationally-sick correspondent wherever he or she may be (one of the other great things about to make Avant- Pop the most exciting movement-chemistry of the 20th century and into the 21st Century is that our audience will be both immediate and global, all in one breath).
 
@@ -33,11 +33,11 @@ Writers who continue to support an outmoded concept of the lone writer dissociat
 
 Can you imagine what The Futurists would have done with an Information Superhighway?
 
-### 6
+### 6
 
 Antonin Artaud, founder of The Theater of Cruelty, once said that "I am the enemy of the theater. I have always been. As much as I love the theater, I am, for this very reason, equally it's enemy." Avant-Pop artists are the enemy of pop culture and the avant-garde, both domains seemingly so far-fetched in a world that celebrates itself with live TV wars, rampant economic disenfranchisement and nanosecond identity changes. Our lineage, the bloodbath of cultural history we swim in, includes Artaud, Lautreamont, Jarry, Rimbaud, Futurism, Situationism, Fluxus, Abstract Expressionism, Henry Miller, Gertrude Stein, William Burroughs, Terry Southern, Surfiction, Metafiction, Postmodernism in all its gruesome details, Laugh-In, Saturday Night Live, Beavis and Butthead, SLACKER, Coltrane Miles Dizzy Don Cherry, feminist deconstruction, the list goes on. We will sample from anything we need. We will rip-off your mother if she has something we find appropriate for our compost-heap creations.
 
-### 7
+### 7
 
 We don't give a shit about your phony social reality either. "Once upon a time" doesn't interest us whether your setting is the past (historical fiction), the present (contemporary classics) or the future (cyberhype). We prefer to lose ourselves in the exquisite realms of spacy sex and timeless narrative disaster, the thrill of breaking down syntax and deregulating the field of composition so that you no longer have to feel chained to the bed of commercial standardization. The emerging youth culture's ability to align itself with intuitive intelligence and non-linear narrative surfing is just one sign of where the Avant-Pop artist's audience is situated. Soon the Data Superhighway will finally once and for all do away with the high-priced middlemen, and artists will reap the benefits of their own hard-earned labor. The distribution formula will radically change from
 
@@ -57,7 +57,7 @@ In an Information Age where we all suffer from Information Sickness and Overload
 1. who are we sharing the cultural-toilet with and
 2. what are we filling it up with?
 
-### 9
+### 9
 
 Avant-Pop artists are already doing a lot of this stuff already. It's impossible to name them all but a random sampling would include Mark Leyner, Ricardo Cortez Cruz, William Gibson, William Vollmann, Larry McCaffery, Ronald Sukenick, Kim Gordon, Doug Rice, Derek Pell, Kim Deal, Darius James, Lauren Fairbanks, Jello Biafra, Lisa Suckdog, Eurudice, Nile Southern, Takayuki Tatsumi, John Bergin, John Shirley, Bruce Sterling, Richard Linklater, Don Webb, The Brothers Quay, Lance Olsen, Curt White, Eugene Chadbourne, King Missile, David Blair, and many, many others.
 Without even knowing it, the Avant-Pop movement has been secretly generating interest and support for a few years now but has recently become more exposed with the successful breakthrough of the sub-pop alternative music scene, the publication of alternative trade paperbacks like Black Ice Books, and the release of low-budget alternative media projects like *Wax, Or The Discovery of Television Among the Bees*. The future of fiction is *now* as we, its most active practitioners, automatically unwrite it.

content/manifestos/2008-05-lo-fi-manifesto.md

@@ -21,7 +21,7 @@ Lo-fi production technologies are stable and free. They consist of and/or can re
 
 Despite their humble, decades-old base technology (plain text), innovative uses of lo-fi technologies can be remarkably hi-fi, as in the case of AJAX (whose most famous application may be Google’s Gmail service).
 
-## Lo-fi is LOFI
+## Lo-fi is LOFI
 
 “Lo-fi” describes a preferred set of production technologies that digital producers should strive to command, but as an acronym, LOFI outlines four principles of digital production that are essential for the advancement, extension, and long-term preservation of digital discourse:
 

content/manifestos/2015-07-xenofeminism.txt

@@ -1,6 +1,6 @@
 # Xenofeminism
 
-## A politics for alienation
+## A politics for alienation
 
 ### ZERO
 
@@ -87,7 +87,7 @@ two-way dependency.  It names reason as an engine of feminist emancipation,
 and declares the right of everyone to speak as no one in particular. 
 
 
-### INTERRUPT
+### INTERRUPT
 
 
 #### 0x05 
@@ -165,17 +165,17 @@ anticipate its systemic condition responsively.
 XF rejects illusion and melancholy as political inhibitors.  Illusion, 
 as the blind presumption that the weak can prevail over the strong with no 
 strategic coordination, leads to unfulfilled promises and unmarshalled 
-drives.  This is a politics that, in wanting so much, ends up building so 
-little.  Without the labour of large-scale, collective social organisation, 
+drives. This is a politics that, in wanting so much, ends up building so 
+little. Without the labour of large-scale, collective social organisation, 
 declaring one's desire for global change is nothing more than wishful 
-thinking.  On the other hand, melancholy -- so endemic to the left -- teaches 
+thinking. On the other hand, melancholy -- so endemic to the left -- teaches 
 us that emancipation is an extinct species to be wept over and that blips of 
-negation are the best we can hope for.  At its worst, such an attitude 
+negation are the best we can hope for. At its worst, such an attitude 
 generates nothing but political lassitude, and at its best, installs an 
 atmosphere of pervasive despair which too often degenerates into factionalism
 and petty moralizing.  The malady of melancholia only compounds political
 inertia, and -- under the guise of being realistic -- relinquishes all 
-hope of calibrating the world otherwise.   It is against such maladies that 
+hope of calibrating the world otherwise. It is against such maladies that 
 XF innoculates. 
 
 
@@ -358,7 +358,7 @@ task of revision, release the reins and slacken that tension, and these
 filaments instantly dim. 
  
 
-### CARRY
+### CARRY
 
 
 #### 0x13 
@@ -458,7 +458,7 @@ intricate network of transits between these polarities.  As pragmatists, we
 invite contamination as a mutational driver between such frontiers. 
 
 
-### OVERFLOW
+### OVERFLOW
 
 
 #### 0x18 

content/manifestos/2015-open-web-index.txt

@@ -1,6 +1,6 @@
 # Open Web Index Manifesto
 
-## One search engine is not enough!
+## One search engine is not enough!
 
 Europe’s digital economy and civil society are virtually dependent on non-European businesses. This is particularly evident with regard to search engines, the cornerstone of our digital information infrastructure. Google currently dominates the market, leading to dependencies and economic damage that are no longer acceptable.