Updating amazon link

Merge pull request #44 from MarioVilas/patch-1
Update 1986-hacker-manifesto.txt with original formatting
2025-04-20 23:56:45 -04:00 · 2024-08-15 23:05:09 +02:00 · 2024-08-15 23:00:46 +02:00 · 2024-08-15 22:56:44 +02:00 · 2022-02-17 09:32:10 +01:00 · 2021-12-08 23:34:21 +01:00
23 changed files with 874 additions and 100 deletions
--- a/LICENSE.txt
+++ b/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.

--- a/README.md
+++ b/README.md
@ -2,9 +2,11 @@

 A collection of manifestos for the internet age.

-The URL of this repository is: https://github.com/greyscalepress/manifestos
+The URL of this repository is: [https://github.com/greyscalepress/manifestos](https://github.com/greyscalepress/manifestos)

-You can obtain a printed version on [Amazon.com](http://www.amazon.com/Manifestos-Internet-Age-Various/dp/2940561028/), also on [Amazon UK](http://www.amazon.co.uk/Manifestos-Internet-Age-Various/dp/2940561028/), [Germany](http://www.amazon.de/Manifestos-Internet-Age-Various/dp/2940561028/), [France](http://www.amazon.fr/Manifestos-Internet-Age-Various/dp/2940561028/), [Spain](http://www.amazon.es/Manifestos-Internet-Age-Various/dp/2940561028/).
+![](images/manifestos-amazon-page.png)
+
+You can obtain a printed version on [Amazon.com](http://www.amazon.com/Manifestos-Internet-Age-Various/dp/2940561044/), also on [Amazon UK](http://www.amazon.co.uk/Manifestos-Internet-Age-Various/dp/2940561044/), [Germany](http://www.amazon.de/Manifestos-Internet-Age-Various/dp/2940561044/), [France](http://www.amazon.fr/Manifestos-Internet-Age-Various/dp/2940561044/), [Spain](http://www.amazon.es/Manifestos-Internet-Age-Various/dp/2940561044/).

 ## Format

@ -45,7 +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.

@ -53,7 +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...

@ -70,7 +72,7 @@ Command:
 ```sudo tlmgr install tocloft```


-## Troubleshooting
+## Troubleshooting

 Errors that can occur during compilation:

--- a/content/manifestos-tmp/2006-Realtime-Art-Manifesto.htm
+++ b/content/manifestos-tmp/2006-Realtime-Art-Manifesto.htm
@ -0,0 +1,188 @@
+<?xml version="1.0"?>
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" />
+    <title>Tale of Tales - Realtime Art Manifesto</title>
+    <link rel="stylesheet" type="text/css"  href="RAM_files/RAM.css" />
+  </head>
+  <body style="margin: 53pt 53pt 71pt 71pt;">
+    <div style="margin : 90pt 0pt 0pt 0pt; ">
+      <p style="margin-bottom: 0.000000pt; margin-top: 0.000000pt; padding-top: 0pt; " class="Title ">
+        <span style="color: #880000; ">Realtime art manifesto</span>
+        <span style="color: #ff0000; "></span>
+      </p>
+      <p class="Subtitle ">
+        <span style="vertical-align: 0.000000em; ">Auriea Harvey &amp; Micha&#xEB;l Samyn<br /></span>
+        <span style="font-size: 11.00pt; vertical-align: 0.000000em; ">Directors, &#xA0;Tale of Tales, &#xA0;ram@tale-of-tales.com</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Subtitle " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Bylines " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Bibliography_Text " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Bylines " style="font-size: 11.00pt; vertical-align: 0.000000em; ">Gaming realities: the challenge of digital culture</p>
+      <p class="Bylines " style="font-size: 11.00pt; vertical-align: 0.000000em; "><a href="http://www.mediaterra.org">mediaterra festival of Art and Technology</a></p>
+      <p class="Bylines ">
+        <span style="font-size: 11.00pt; vertical-align: 0.000000em; ">Athens, 2006</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+    </div>
+    <div style="margin : 0pt 0pt 0pt 0pt; ">
+      <p></p>
+            <p class="Heading_2 " style="vertical-align: 0.000000em; ">Abstract</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Auriea Harvey and Micha&#xEB;l Samyn are new media artists who have embraced realtime 3D game technology as their artistic medium of choice. Realtime 3D is the most remarkable new creative technology since oil on canvas. It is much too important to be wasted on computer games alone. This manifesto is a call-to-arms for creative people (including, but not limited to, video game designers and fine artists) to embrace this new medium and start realizing its enormous potential. As well as a set of guidelines that express our own ideas and ideals about using the technology.</p>
+      <p style="margin-bottom: 0.000000pt; margin-left: 36.00pt; margin-top: 0.000000pt; text-indent: 0.00pt; color: #880000; " class="Body ">&#xA0;1. &#xA0;Realtime 3D is a medium for artistic expression.<br />&#xA0;2. &#xA0;Be an author.<br />&#xA0;3. &#xA0;Create a total experience.<br />&#xA0;4. &#xA0;Embed the user in the environment.<br />&#xA0;5. &#xA0;Reject dehumanisation: tell stories.<br />&#xA0;6. &#xA0;Interactivity wants to be free.<br />&#xA0;7. &#xA0;Don&#x2019;t make modern art.<br />&#xA0;8. &#xA0;Reject conceptualism.<br />&#xA0;9. &#xA0;Embrace technology.<br />10. Develop a punk economy.</p>
+      <p class="Heading_2 " style="vertical-align: 0.000000em; ">Keywords</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">realtime 3d<br />computer games<br />interactive storytelling<br />game design<br />artistry<br />non-linearity</p>
+    </div>
+    <div style="margin : 0pt 0pt 0pt 0pt; ">
+      <p></p>
+      <p style="padding-top: 0pt; " class="Title ">
+        <span style="color: #880000; vertical-align: 0.000000em; ">Realtime art manifesto</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+<BR><BR>
+      <p style="padding-top: 0pt; " class="Heading_1 ">
+        <span style="color: #880000; vertical-align: 0.000000em; ">1. Realtime 3D is a medium for artistic expression.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Games are not the only things you can make with realtime 3D technology.<br />And modification of commercial games is not the only option accessible to artists.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Realtime 3D is the most remarkable new creative technology since oil on canvas.<br />It is much too important to remain in the hands of toy makers and propaganda machines.<br />We need to rip the technology out of their greedy claws and put them to shame by producing<br />the most stunning art to grace this planet so far.<br />(And claim the name &#x201C;game&#x201D; for what we do even if it is inappropriate.)</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">Real-time 3d interactives can be an art form unto themselves.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Heading_1 ">
+        <span style="color: #880000; vertical-align: 0.000000em; ">2. Be an author.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not hide behind the freedom of the user in an interactive environment to ignore your responsibility as a creator.<br />This only ends in confirming cliches.<br />Do not design in board room meetings or give marketeers creative power.<br />Your work needs to come from a singular vision and be driven by a personal passion.<br />Do not delegate direction jobs.<br />Be a dictator.<br />But collaborate with artisans more skilled than you.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Ignore the critics and the fanboys.<br />Make work for your audience instead.<br />Embrace the ambiguity that the realtime medium excells in.<br />Leave interpretation open where appropriate<br />but keep the user focused and immersed the worlds that you create.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Commercial games are conservative, both in design as in mentality.<br />They eschew authorship, pretending to offer the player a neutral vessel to take him or her through the virtual world.<br />But the refusal to author results in a mimicing of generally accepted notions, of television and other mass media.<br />Banality.<br />Reject pure commercialism.<br />Individual elements of many commercial games made with craft and care produce artistic effects <br />but the overall product is not art.<br />Some commercial games have artistic moments,<br />but we need to go further.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Step one: drop the requirement of making a game.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The game structure of rules and competition stands in the way of expressiveness.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Interactivity wants to be free.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Gaming stands in the way of playing.<br />There are so many other ways of interacting in virtual environments.<br />We have only just begun to discover the possibilities.<br />Games are games.<br />They are ancient forms of play that have their place in our societies.<br />But they are by far not the only things one can do with realtime technologies.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Stop making games.<br />Be an author.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">3. Create a total experience.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not render!</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">All elements serve the realisation of the piece as a whole.<br />Models, textures, sound, interaction, environment, atmosphere, <br />drama, story, programming <br />are all equally important.<br />Do not rely on static renderings.<br />Everything happens in real time.<br />The visuals as well as the logic.<br />Create multi-sensorial experiences.<br /></span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">Simulate</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> sensorial sensations for which output hardware does not exist (yet).<br />Make the experience feel real<br />(it does not need to look real).<br />Do not imitate other media but develop an aesthetic style that is unique.</span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Make the activity that the user spends most time doing the most interesting one in the game.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">It&#x2019;s not about the individual elements but about the total effect of the environment.<br />The sum of its parts.<br />In the end the work is judged by the quality of authorship<br />and not by its individual elements.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Models, textures, sound, interaction design, environment design, atmosphere, drama, story, programming.<br />Together without hierarchy.<br />No element can be singled out. All are equally important.<br />Create a simulated multi-sensorial experience. Not only a picture.<br />Or only a game.<br />Or only a soundtrack.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">4. Embed the user in the environment.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The user is not disembodied in virtual space<br />but takes the body into the experience.<br />The avatar is not a neutral vessel but allows the user to navigate<br />not only through the virtual space<br />but also through the narrative content.<br />Interaction is the link between the user and the piece.<br />Provide for references<br />(both conceptual and sensorial)<br />to connect the user to the environment.<br />Reject abstraction.<br />Make the user feel at home.<br />(and then play with his<br />or her<br />expectations<br />-just don&#x2019;t start with alienation,<br />the real world is alienationg enough as it is)</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Reject the body-mind duality.<br />The user is the center of the experience.<br />Think &#x201C;architecture&#x201D;, not &#x201C;film&#x201D;.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Interaction is pivotal<br />to &#x201C;put the user in the environment&#x201D;.<br />The user is not disembodied but is provided with a device<br />(similar to a diving suit or astronout&#x2019;s outfit)<br />which allows him<br />or her<br />to visit a place that would otherwise not be accessible.<br />You bring your body with you to this place,<br />or at least your memories of it.</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">Strictly speaking, our output media only allow for the reproduction of </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">visuals</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> and </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">sound</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">.<br />But real-time interaction and processing can help us to achieve </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">simulation</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> of touch, smell and taste as well, through visuals and sound.<br />In fact, force feedback already provides for a way to communicate with touch.<br />And the activity of fingers on the mouse or hands holding a joystick allows for physical communication.<br />Don&#x2019;t underestimate this connection.<br />From the USB port to the joystick. Through the hand to the nerous system.<br />One network.</span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Soon as smell and taste can be reproduced, those media can quickly be incorporated into our technology.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The virtual place is not necessarily alien.<br />On the contrary:<br />It can deal with any subject.<br />References to the real world<br />(of nature as well as culture)<br />(both conceptual and sensorial)<br />create links between the environment and the user.<br />Since interaction is pivotal, these links are crucial.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Make it feel real, not necessarily look real.</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">Develop a unique language for the realtime 3D medium and do not fall in MacLuhan&#x2019;s trap<br />(don&#x2019;t allow any old medium to become the content of the new)<br />Imitate </span>
+        <span style="font-family: 'HoeflerText-Black', 'Hoefler Text'; font-weight: bold; line-height: 1.44; vertical-align: 0.000000em; ">life</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> and not photography, or drawings, or comic strips or even old-school games.<br />Realism does not equal </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">photo</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">-realism!<br />In a multisensory medium, </span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text'; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; ">realism</span>
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; "> is a multisensory experience:</span>
+      </p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">It has to feel real.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">5. Reject dehumanisation: tell stories.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Stories ground people in culture,<br />(and remove the alienation that causes aggression)<br />stimulate their imagination,<br />(and therefore improve the capability to change)<br />teach them about themselves<br />and connect them with each other.<br />Stories are a vital element of society.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Embrace non-linearity.<br />Let go of the idea of plot.<br />Realtime is non-linear.<br />Tell the story through interaction.<br />Do not use in-game movies or other non-realtime devices to tell the story.<br />Do not create a &#x201C;drama manager&#x201D;: let go of plot!<br />Plot is not compatible with realtime.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Think &#x201C;poetry&#x201D;, not &#x201C;prose&#x201D;.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The ancient Greek philosopher Aristotle recognized six elements in Drama.<br />PLOT<br />what happens in a play, the order of events,<br />is only one of them.<br />Next to plot we have<br />THEME<br />or the main idea in the work<br />CHARACTER<br />or the personality or role played by an actor<br />DICTION<br />the choice and delivery of words<br />MUSIC/RHYTHM<br />the sound, rhythm and melody of what is being said<br />SPECTACLE<br />the visual elements of the work.<br />All of these can be useful in non-linear realtime experiences. Except plot.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">But the realtime medium offers additional elements that easily augment or replace plot.<br />INTERACTIVITY<br />the direct influence of the viewer on the work<br />IMMERSION<br />the presence of the viewer in the work<br />AN AUDIENCE OF ONE<br />every staging of the work is done for an audience of a single person in the privacy of his<br />or her<br />home.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">These new elements add the viewer as an active participant to the experience.<br />This is not a reduction of the idea of story but an enrichment.<br />Realtime media allow us to tell stories that could not be told before.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Many of the mythical fantasies about art can now be made real.<br />Now we can step into paintings and become part of them.<br />Now sculptures can come alive and talk to us.<br />Now we walk onto the stage and take part in the action.<br />We can live the lives of romance characters.<br />Be the poet <br />or the muse.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not reject stortelling in realtime because it is not straightforward.<br />Realtime media allow us to make ambiguity and imagination active parts of the experience.<br />Embrace the ambiguity:<br />it is enriching.<br />The realtime medium allows for telling stories that cannot be told in any other language.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">But realtime is not suitable for linear stories:</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Embrace non-linearity!<br />Reject plot!</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Realtime is a poetic technology.<br />Populate the virtual world with narrative elements that allow the player to make up his or her own story.<br />Imagination moves the story into the user&#x2019;s mind.<br />It allows the story to penetrate the surface and take its place amongst the user&#x2019;s thoughts &amp; memories.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The bulk of your story should be told in realtime, through interaction.<br />Do not use in-game movies or other devices.<br />Do not fall back on a machine to create plot on the fly:<br />let go of plot,<br />plot is not compatible with realtime.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not squeeze the realtime medium into a linear frame.<br />Stories in games are not impossible or irrelevant, even if &#x201C;all that matters is gameplay&#x201D;.<br />Humans need stories and will find stories in everything.<br />Use this to your advantage.<br />Yes, &#x201C;all that matters is gameplay&#x201D;,<br />if you extend gameplay to mean all interaction in the game.<br />Because it is through this interaction that the realtime medium will tell its stories.</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">The situation is the story.<br />Choose your characters and environment carefully<br />so that the situation immediately triggers narrative associations in the mind of the user.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">6. Interactivity wants to be free.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Don&#x2019;t make games.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">The rule-based structure and competitive elements in traditional game design stand in the way of expressiveness.<br />And often, ironically, rules get in the way of playfulness<br />(playfulness is required for an artistic experience!).</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Express yourself through interactivity.<br />Interactivity is the one unique element of the realtime medium.<br />The one thing that no other medium can do better.<br />It should be at the center of your creation.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Interactivity design rule number one:<br />the thing you do most in the game, should be the thing that is most interesting to do.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">i.e., If it takes a long time to walk between puzzles, the walk should be more interesting than the puzzles.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">7. Don&#x2019;t make modern art.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Modern art tends to be ironical, cynical, self referential, afraid of beauty, afraid of meaning<br />-other than the trendy discourse of the day-,<br />afraid of technology, anti-artistry.<br />Furthermore contemporary art is a marginal niche.<br />The audience is elsewhere.<br />Go to them rather then expecting them to come to the museum.<br />Contemporary art is a style, a genre, a format.<br />Think!</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Do not fear beauty.<br />Do not fear pleasure.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Make art-games, not game-art.<br />Game art is just modern art<br />-ironical, cynical, afraid of beauty, afraid of meaning.<br />It abuses a technology that has already spawned an art form capable of communicating far beyond the reach of modern art.<br />Made by artists far superior in artistry and skills.<br />Game art is slave art.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Realtime media are craving your input, your visions.<br />Real people are starving for meaningful experiences.<br />And what&#x2019;s more:</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">society needs you.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Contemporary civilisations are declining at an unsurpassed rate.<br />Fundamentalism.<br />Fascism.<br />Populism.<br />War.<br />Pollution.<br />The world is collapsing while the Artists twiddle their thumbs in the museums.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Step into the world.<br />Into the private worlds of individuals.<br />Share your vision.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Connect.<br />Connect.<br />Communicate.</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">8. Reject conceptualism.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Make art for people,<br />not for documentation.<br />Make art to experience<br />and not to read about.<br />Use the language of your medium to communicate all there is to know.<br />The user should never be required to read a description or a manual.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Don&#x2019;t parody things that are better than you.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Parodies of commercial games are ridiculous if their technology, craft and artistry do not match up with the original.<br />Don&#x2019;t settle yourself in the position of the underdog: surpass them!<br />Go over their heads!<br />Dominate them!<br />Show them how it&#x2019;s done!</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Put the artistry back in Art.<br />Reject conceptualism.<br />Make art for people, not for documentation.<br />Make art to experience and not art to read about.</p>
+      <p class="Body " style="font-size: 10.00pt; vertical-align: 0.000000em; ">Use the language of your work to communicate its content.</p>
+      <p class="Body ">
+        <span style="font-size: 10.00pt; vertical-align: 0.000000em; ">The audience should never be required to read the description.<br />The work should communicate all that is required to understand it.</span>
+        <span style="vertical-align: 0.000000em; "></span>
+      </p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">9. Embrace technology.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Don&#x2019;t be afraid of technology,<br />and least of all, don&#x2019;t make art about this fear.<br />It&#x2019;s futile.<br />Technology is not nature. Technology is not god.<br />It&#x2019;s a thing.<br />Made for people by people.<br />Grab it. Use it.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Software is infinitely reproducable and easy to distribute.<br />Reject the notion of scarcity.<br />Embrace the abundance that the digital allows for.<br />The uniqueness of realtime is in the experience.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Cut out the middle man: deliver your productions directly to the users.<br />Do not depend on galleries, museums, festivals or publishers.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Technology-based art should not be about technology:<br />it should be about life, death and the human condition.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Embrace technology, make it yours!</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Use machines to make art for humans, not vice versa.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Make software!<br />Software is infinitely reproducable<br />(there is no original; uniqueness is not required<br />-the uniqueness is in the experience)<br />Distribution of software is easy through the internet or portable data containers<br />(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)</p>
+      <p class="Heading_1 " style="vertical-align: 0.000000em; ">10. Develop a punk economy.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Don&#x2019;t shy away from competition with commercial developers.<br />Your work offers something that theirs does not:<br />originality of design,<br />depth of content,<br />alternative aesthetics.<br />Don&#x2019;t worry about the polish too much.<br />Get the big picture right.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">&#x201C;Reduce the volume, Increase the quality and density&#x201D;<br />(Fumito Ueda)</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Make short and intense games:<br />think haiku, not epic.<br />Think poetry, not prose.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Embrace punk aesthetics.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">But don&#x2019;t become too dependant on government or industry funding:<br />it is unreliable.<br />Sell your work directly to your audience.<br />And use alternative distribution methods that do not require enormous sales figures to break even.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Consider self-publishing and digital distribution.<br />Avoid retail and traditional games publishers.<br />Together they take so great a cut<br />that it requires you to sell hundreds of thousands of copies to make your production investment back.</p>
+      <p class="Body ">
+        <span style="vertical-align: 0.000000em; ">Do not allow institutional</span>
+        <span style="vertical-align: 0.000000em; "> or economic control of your intellectual property, ideas, technology and inventions</span>
+        <span style="vertical-align: 0.000000em; ">.</span>
+      </p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Don&#x2019;t depend on government support or the arts world exclusively.<br />Sell your games!<br />Communicate with your audience directly:<br />cut out the middle man.<br />Let the audience support your work.</p>
+      <p class="Body " style="vertical-align: 0.000000em; ">Communicate.</p>
+      <p class="Body " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Body " style="vertical-align: 0.000000em;  visibility: hidden; ">&#xA0;</p>
+      <p class="Heading_2 " style="vertical-align: 0.000000em; ">References</p>
+      <p class="Body ">
+        <span style="vertical-align: 0.000000em; ">Aristotle&#x2019;s Six Elements of Drama <br /></span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text', georgia; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; "><a href="http://www.kyshakes.org/Resources/Aristotle.html">http://www.kyshakes.org/Resources/Aristotle.html</a></span>
+      </p>
+      <p style="padding-bottom: 10pt; " class="Body ">
+        <span style="vertical-align: 0.000000em; ">Fumito Ueda &amp; Kenji Kaido: Game Design Methods of ICO <br /></span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text', georgia; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; "><a href="http://tale-of-tales.com/tales/ueda/">http://tale-of-tales.com/tales/ueda/</a></span>
+        </p>
+             <p style="padding-bottom: 10pt; " class="Body ">
+        <span style="vertical-align: 0.000000em; ">Realtime Art Manifesto presentation slides.<br /></span>
+        <span style="font-family: 'HoeflerText-Italic', 'Hoefler Text', georgia; font-style: italic; line-height: 1.44; vertical-align: 0.000000em; "><a href="http://tale-of-tales.com/tales/RAM_files/ToT-RAM_presentation.zip">http://tale-of-tales.com/tales/RAM_files/ToT-RAM_presentation.zip</a></span>
+        
+<BR><BR>        <a href=http://www.flickr.com/photos/entropy8/sets/72157594548272472/><img src=RAM_files/RAM.png width=500></a>
+        
+      </p>
+    </div>
+  </body>
+</html>
--- a/content/manifestos-tmp/2006-realtime-art-manifesto.md
+++ b/content/manifestos-tmp/2006-realtime-art-manifesto.md
@ -0,0 +1,396 @@
+# REALTIME ART MANIFESTO
+
+Auriea Harvey & Michaël Samyn
+
+Directors,  Tale of Tales,  ram@tale-of-tales.com
+Gaming realities: the challenge of digital culture
+mediaterra festival of Art and Technology
+Athens, 2006
+
+## Abstract
+
+Auriea Harvey and Michaël Samyn are new media artists who have embraced realtime 3D game technology as their artistic medium of choice. Realtime 3D is the most remarkable new creative technology since oil on canvas. It is much too important to be wasted on computer games alone. This manifesto is a call-to-arms for creative people (including, but not limited to, video game designers and fine artists) to embrace this new medium and start realizing its enormous potential. As well as a set of guidelines that express our own ideas and ideals about using the technology.
+
+ 1.  Realtime 3D is a medium for artistic expression.
+ 2.  Be an author.
+ 3.  Create a total experience.
+ 4.  Embed the user in the environment.
+ 5.  Reject dehumanisation: tell stories.
+ 6.  Interactivity wants to be free.
+ 7.  Don’t make modern art.
+ 8.  Reject conceptualism.
+ 9.  Embrace technology.
+10. Develop a punk economy.
+
+Keywords: realtime 3d, computer games, interactive storytelling, game design, artistry, non-linearity
+
+## REALTIME ART MANIFESTO
+
+### 1. Realtime 3D is a medium for artistic expression.
+
+Games are not the only things you can make with realtime 3D technology.
+And modification of commercial games is not the only option accessible to artists.
+
+Realtime 3D is the most remarkable new creative technology since oil on canvas.
+It is much too important to remain in the hands of toy makers and propaganda machines.
+We need to rip the technology out of their greedy claws and put them to shame by producing
+the most stunning art to grace this planet so far.
+(And claim the name “game” for what we do even if it is inappropriate.)
+
+Real-time 3d interactives can be an art form unto themselves.
+
+### 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.
+Do not design in board room meetings or give marketeers creative power.
+Your work needs to come from a singular vision and be driven by a personal passion.
+Do not delegate direction jobs.
+Be a dictator.
+But collaborate with artisans more skilled than you.
+
+Ignore the critics and the fanboys.
+Make work for your audience instead.
+Embrace the ambiguity that the realtime medium excells in.
+Leave interpretation open where appropriate
+but keep the user focused and immersed the worlds that you create.
+
+Commercial games are conservative, both in design as in mentality.
+They eschew authorship, pretending to offer the player a neutral vessel to take him or her through the virtual world.
+But the refusal to author results in a mimicing of generally accepted notions, of television and other mass media.
+Banality.
+Reject pure commercialism.
+Individual elements of many commercial games made with craft and care produce artistic effects 
+but the overall product is not art.
+Some commercial games have artistic moments,
+but we need to go further.
+
+Step one: drop the requirement of making a game.
+
+The game structure of rules and competition stands in the way of expressiveness.
+
+Interactivity wants to be free.
+
+Gaming stands in the way of playing.
+There are so many other ways of interacting in virtual environments.
+We have only just begun to discover the possibilities.
+Games are games.
+They are ancient forms of play that have their place in our societies.
+But they are by far not the only things one can do with realtime technologies.
+
+Stop making games.
+Be an author.
+
+### 3. Create a total experience.
+
+Do not render!
+
+All elements serve the realisation of the piece as a whole.
+Models, textures, sound, interaction, environment, atmosphere, 
+drama, story, programming 
+are all equally important.
+Do not rely on static renderings.
+Everything happens in real time.
+The visuals as well as the logic.
+Create multi-sensorial experiences.
+*Simulate* sensorial sensations for which output hardware does not exist (yet).
+Make the experience feel real
+(it does not need to look real).
+Do not imitate other media but develop an aesthetic style that is unique.
+
+Make the activity that the user spends most time doing the most interesting one in the game.
+
+It’s not about the individual elements but about the total effect of the environment.
+The sum of its parts.
+In the end the work is judged by the quality of authorship
+and not by its individual elements.
+
+Models, textures, sound, interaction design, environment design, atmosphere, drama, story, programming.
+Together without hierarchy.
+No element can be singled out. All are equally important.
+Create a simulated multi-sensorial experience. Not only a picture.
+Or only a game.
+Or only a soundtrack.
+
+### 4. Embed the user in the environment.
+
+The user is not disembodied in virtual space
+but takes the body into the experience.
+The avatar is not a neutral vessel but allows the user to navigate
+not only through the virtual space
+but also through the narrative content.
+Interaction is the link between the user and the piece.
+Provide for references
+(both conceptual and sensorial)
+to connect the user to the environment.
+Reject abstraction.
+Make the user feel at home.
+(and then play with his
+or her
+expectations
+-just don’t start with alienation,
+the real world is alienationg enough as it is)
+
+Reject the body-mind duality.
+The user is the center of the experience.
+Think “architecture”, not “film”.
+
+Interaction is pivotal
+to “put the user in the environment”.
+The user is not disembodied but is provided with a device
+(similar to a diving suit or astronout’s outfit)
+which allows him
+or her
+to visit a place that would otherwise not be accessible.
+You bring your body with you to this place,
+or at least your memories of it.
+
+Strictly speaking, our output media only allow for the reproduction of *visuals* and *sound*.
+But real-time interaction and processing can help us to achieve simulation of touch, smell and taste as well, through visuals and sound.
+In fact, force feedback already provides for a way to communicate with touch.
+And the activity of fingers on the mouse or hands holding a joystick allows for physical communication.
+Don’t underestimate this connection.
+From the USB port to the joystick. Through the hand to the nerous system.
+One network.
+Soon as smell and taste can be reproduced, those media can quickly be incorporated into our technology.
+The virtual place is not necessarily alien.
+On the contrary:
+It can deal with any subject.
+References to the real world
+(of nature as well as culture)
+(both conceptual and sensorial)
+create links between the environment and the user.
+Since interaction is pivotal, these links are crucial.
+Make it feel real, not necessarily look real.
+Develop a unique language for the realtime 3D medium and do not fall in MacLuhan’s trap
+(don’t allow any old medium to become the content of the new)
+Imitate life and not photography, or drawings, or comic strips or even old-school games.
+Realism does not equal *photo*-realism!
+In a multisensory medium, *realism* is a multisensory experience:
+
+It has to feel real.
+
+### 5. Reject dehumanisation: tell stories.
+
+Stories ground people in culture,
+(and remove the alienation that causes aggression)
+stimulate their imagination,
+(and therefore improve the capability to change)
+teach them about themselves
+and connect them with each other.
+Stories are a vital element of society.
+Embrace non-linearity.
+Let go of the idea of plot.
+Realtime is non-linear.
+Tell the story through interaction.
+Do not use in-game movies or other non-realtime devices to tell the story.
+Do not create a “drama manager”: let go of plot!
+Plot is not compatible with realtime.
+Think “poetry”, not “prose”.
+The ancient Greek philosopher Aristotle recognized six elements in Drama.
+PLOT
+what happens in a play, the order of events,
+is only one of them.
+Next to plot we have
+THEME
+or the main idea in the work
+CHARACTER
+or the personality or role played by an actor
+DICTION
+the choice and delivery of words
+MUSIC/RHYTHM
+the sound, rhythm and melody of what is being said
+SPECTACLE
+the visual elements of the work.
+All of these can be useful in non-linear realtime experiences. Except plot.
+But the realtime medium offers additional elements that easily augment or replace plot.
+INTERACTIVITY
+the direct influence of the viewer on the work
+IMMERSION
+the presence of the viewer in the work
+AN AUDIENCE OF ONE
+every staging of the work is done for an audience of a single person in the privacy of his
+or her
+home.
+These new elements add the viewer as an active participant to the experience.
+This is not a reduction of the idea of story but an enrichment.
+Realtime media allow us to tell stories that could not be told before.
+Many of the mythical fantasies about art can now be made real.
+Now we can step into paintings and become part of them.
+Now sculptures can come alive and talk to us.
+Now we walk onto the stage and take part in the action.
+We can live the lives of romance characters.
+Be the poet 
+or the muse.
+Do not reject stortelling in realtime because it is not straightforward.
+Realtime media allow us to make ambiguity and imagination active parts of the experience.
+Embrace the ambiguity:
+it is enriching.
+The realtime medium allows for telling stories that cannot be told in any other language.
+But realtime is not suitable for linear stories:
+Embrace non-linearity!
+Reject plot!
+Realtime is a poetic technology.
+Populate the virtual world with narrative elements that allow the player to make up his or her own story.
+Imagination moves the story into the user’s mind.
+It allows the story to penetrate the surface and take its place amongst the user’s thoughts & memories.
+The bulk of your story should be told in realtime, through interaction.
+Do not use in-game movies or other devices.
+Do not fall back on a machine to create plot on the fly:
+let go of plot,
+plot is not compatible with realtime.
+Do not squeeze the realtime medium into a linear frame.
+Stories in games are not impossible or irrelevant, even if “all that matters is gameplay”.
+Humans need stories and will find stories in everything.
+Use this to your advantage.
+Yes, “all that matters is gameplay”,
+if you extend gameplay to mean all interaction in the game.
+Because it is through this interaction that the realtime medium will tell its stories.
+The situation is the story.
+Choose your characters and environment carefully
+so that the situation immediately triggers narrative associations in the mind of the user.
+
+### 6. Interactivity wants to be free.
+
+Don’t make games.
+The rule-based structure and competitive elements in traditional game design stand in the way of expressiveness.
+And often, ironically, rules get in the way of playfulness
+(playfulness is required for an artistic experience!).
+Express yourself through interactivity.
+Interactivity is the one unique element of the realtime medium.
+The one thing that no other medium can do better.
+It should be at the center of your creation.
+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.
+
+Modern art tends to be ironical, cynical, self referential, afraid of beauty, afraid of meaning
+-other than the trendy discourse of the day-,
+afraid of technology, anti-artistry.
+Furthermore contemporary art is a marginal niche.
+The audience is elsewhere.
+Go to them rather then expecting them to come to the museum.
+Contemporary art is a style, a genre, a format.
+Think!
+
+Do not fear beauty.
+Do not fear pleasure.
+
+Make art-games, not game-art.
+Game art is just modern art
+-ironical, cynical, afraid of beauty, afraid of meaning.
+It abuses a technology that has already spawned an art form capable of communicating far beyond the reach of modern art.
+Made by artists far superior in artistry and skills.
+Game art is slave art.
+
+Realtime media are craving your input, your visions.
+Real people are starving for meaningful experiences.
+And what’s more:
+
+society needs you.
+
+Contemporary civilisations are declining at an unsurpassed rate.
+Fundamentalism.
+Fascism.
+Populism.
+War.
+Pollution.
+The world is collapsing while the Artists twiddle their thumbs in the museums.
+Step into the world.
+Into the private worlds of individuals.
+Share your vision.
+Connect.
+Connect.
+Communicate.
+
+### 8. Reject conceptualism.
+
+Make art for people,
+not for documentation.
+Make art to experience
+and not to read about.
+Use the language of your medium to communicate all there is to know.
+The user should never be required to read a description or a manual.
+Don’t parody things that are better than you.
+Parodies of commercial games are ridiculous if their technology, craft and artistry do not match up with the original.
+Don’t settle yourself in the position of the underdog: surpass them!
+Go over their heads!
+Dominate them!
+Show them how it’s done!
+Put the artistry back in Art.
+Reject conceptualism.
+Make art for people, not for documentation.
+Make art to experience and not art to read about.
+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.
+
+Don’t be afraid of technology,
+and least of all, don’t make art about this fear.
+It’s futile.
+Technology is not nature. Technology is not god.
+It’s a thing.
+Made for people by people.
+Grab it. Use it.
+Software is infinitely reproducable and easy to distribute.
+Reject the notion of scarcity.
+Embrace the abundance that the digital allows for.
+The uniqueness of realtime is in the experience.
+Cut out the middle man: deliver your productions directly to the users.
+Do not depend on galleries, museums, festivals or publishers.
+Technology-based art should not be about technology:
+it should be about life, death and the human condition.
+Embrace technology, make it yours!
+Use machines to make art for humans, not vice versa.
+Make software!
+Software is infinitely reproducable
+(there is no original; uniqueness is not required
+-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.
+
+Don’t shy away from competition with commercial developers.
+Your work offers something that theirs does not:
+originality of design,
+depth of content,
+alternative aesthetics.
+Don’t worry about the polish too much.
+Get the big picture right.
+“Reduce the volume, Increase the quality and density”
+(Fumito Ueda)
+Make short and intense games:
+think haiku, not epic.
+Think poetry, not prose.
+Embrace punk aesthetics.
+But don’t become too dependant on government or industry funding:
+it is unreliable.
+Sell your work directly to your audience.
+And use alternative distribution methods that do not require enormous sales figures to break even.
+Consider self-publishing and digital distribution.
+Avoid retail and traditional games publishers.
+Together they take so great a cut
+that it requires you to sell hundreds of thousands of copies to make your production investment back.
+Do not allow institutional or economic control of your intellectual property, ideas, technology and inventions .
+Don’t depend on government support or the arts world exclusively.
+Sell your games!
+Communicate with your audience directly:
+cut out the middle man.
+Let the audience support your work.
+Communicate.
+
+### References
+
+Aristotle’s Six Elements of Drama 
+http://www.kyshakes.org/Resources/Aristotle.html
+
+Fumito Ueda & Kenji Kaido: Game Design Methods of ICO 
+http://tale-of-tales.com/tales/ueda/
+
+Realtime Art Manifesto presentation slides.
+http://tale-of-tales.com/tales/RAM_files/ToT-RAM_presentation.zip 
--- a/content/manifestos-tmp/Hacker-Questions.txt
+++ b/content/manifestos-tmp/Hacker-Questions.txt
@ -0,0 +1,20 @@
+A manifesto 
+
+
+http://opentranscripts.org/transcript/programming-forgetting-new-hacker-ethic/
+
+
+# Hacker Questions
+
+* ~~Access to computers should be unlimited and total.~~ Who gets to use what I make? Who am I leaving out? How does what I make facilitate or hinder access?
+
+* ~~All information should be free.~~ What data am I using? Whose labor produced it and what biases and assumptions are built into it? Why choose this particular phenomenon for digitization/transcription? What do the data leave out?
+
+* ~~Mistrust authority - promote decentralization.~~ What systems of authority am I enacting through what I make? What systems do I rely on? How does what I make support other people?
+
+* ~~Hackers should be judged by their hacking, not bogus criteria such as degrees, age, race or position.~~ What kind of community am I assuming? What community do I invite through what I make? How are my own personal values reflected in what I make?
+
+
+
+***
+
--- a/content/manifestos/1986-hacker-manifesto.txt
+++ b/content/manifestos/1986-hacker-manifesto.txt
@ -1,80 +1,75 @@
-# The Hacker’s Manifesto
+            ==Phrack Inc.==

-## The Conscience of a Hacker
+                    Volume One, Issue 7, Phile 3 of 10

-By The Mentor (a.k.a. Loyd Blankenship)    
-Written on January 8, 1986
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
+The following was written shortly after my arrest...

-Another one got caught today, it's all over the papers.
-"Teenager Arrested in Computer Crime Scandal", "Hacker Arrested after
-Bank Tampering"...
+                       \/\The Conscience of a Hacker/\/

-Damn kids. They're all alike.
+                                      by

-But did you, in your three-piece psychology and 1950's
-technobrain ever take a look behind the eyes of the Hacker? Did you ever
-wonder what made him tick, what forces shaped him, what may have molded
-him?
+                               +++The Mentor+++

-I am a Hacker, enter my world....
+                          Written on January 8, 1986
+=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

-Mine is a world that begins with school... I'm smarter than most 
-of the other kids, this crap they teach us bores me...
+        Another one got caught today, it's all over the papers.  "Teenager
+Arrested in Computer Crime Scandal", "Hacker Arrested after Bank Tampering"...
+        Damn kids.  They're all alike.

-Damn underachiever. They're all alike.
+        But did you, in your three-piece psychology and 1950's technobrain,
+ever take a look behind the eyes of the hacker?  Did you ever wonder what
+made him tick, what forces shaped him, what may have molded him?
+        I am a hacker, enter my world...
+        Mine is a world that begins with school... I'm smarter than most of
+the other kids, this crap they teach us bores me...
+        Damn underachiever.  They're all alike.

-I'm in junior high or high school. I've listened to teachers explain
-for the fifteenth time how to reduce a fraction. I understand it.  "No, Ms.
-Smith, I didn't show my work. I did it in my head..."
+        I'm in junior high or high school.  I've listened to teachers explain
+for the fifteenth time how to reduce a fraction.  I understand it.  "No, Ms.
+Smith, I didn't show my work.  I did it in my head..."
+        Damn kid.  Probably copied it.  They're all alike.

-Damn kid. Probably copied it. They're all alike.
+        I made a discovery today.  I found a computer.  Wait a second, this is
+cool.  It does what I want it to.  If it makes a mistake, it's because I
+screwed it up.  Not because it doesn't like me...
+                Or feels threatened by me...
+                Or thinks I'm a smart ass...
+                Or doesn't like teaching and shouldn't be here...
+        Damn kid.  All he does is play games.  They're all alike.

-I made a discovery today. I found a computer. Wait a second,
-this is cool. It does what I want it to. If it makes a mistake, it's
-because I screwed it up. Not because it doesn't like me...  
-Or feels threatened by me...  
-Or thinks I'm a smart ass...  
-Or doesn't like teaching and shouldn't be here...
+        And then it happened... a door opened to a world... rushing through
+the phone line like heroin through an addict's veins, an electronic pulse is
+sent out, a refuge from the day-to-day incompetencies is sought... a board is
+found.
+        "This is it... this is where I belong..."
+        I know everyone here... even if I've never met them, never talked to
+them, may never hear from them again... I know you all...
+        Damn kid.  Tying up the phone line again.  They're all alike...

-Damn kid. All he does is play games. They're all alike.
+        You bet your ass we're all alike... we've been spoon-fed baby food at
+school when we hungered for steak... the bits of meat that you did let slip
+through were pre-chewed and tasteless.  We've been dominated by sadists, or
+ignored by the apathetic.  The few that had something to teach found us will-
+ing pupils, but those few are like drops of water in the desert.

-And then it happened... a door opened to a world... rushing
-through the phone line like heroin through an addict's veins, an
-electronic pulse is sent out, a refuge from the day-to-day incompetencies
-is sought... a board is found.
+        This is our world now... the world of the electron and the switch, the
+beauty of the baud.  We make use of a service already existing without paying
+for what could be dirt-cheap if it wasn't run by profiteering gluttons, and
+you call us criminals.  We explore... and you call us criminals.  We seek
+after knowledge... and you call us criminals.  We exist without skin color,
+without nationality, without religious bias... and you call us criminals.
+You build atomic bombs, you wage wars, you murder, cheat, and lie to us
+and try to make us believe it's for our own good, yet we're the criminals.

-"This is it... this is where I belong..."  
-I know everyone here... even if I've never met them, never talked
-to them, may never hear from them again... I know you all...
-
-Damn kid. Tying up the phone line again. They're all alike...
-
-You bet your ass we're all alike... we've been spoon-fed baby
-food at school when we hungered for steak... the bits of meat that you
-did let slip were pre-chewed and tasteless. We've been dominated by
-sadists, or ignored by the apathetic. The few that had somthing to
-teach found us willing pupils, but those few are like drops of water in
-the desert.
-
-This is our world now... the world of the electron and the
-switch, the beauty of the baud. We make use of the service already
-existing without paying for what could be dirt-cheap if it wasn't run by
-profiteering gluttons, and you call us criminals. We explore... and you
-call us criminals. We seek after knowledge... and you call us criminals.
-We exist without skin color, without nationality, without religous
-bias... and you call us criminals.  
-You build atomic bombs, you wage wars, you murder, cheat, and
-lie to us and try to make us believe it's for our own good, yet we're the
-criminals.
-
-Yes, I am a criminal.  My crime is that of curiosity.  My crime is
+        Yes, I am a criminal.  My crime is that of curiosity.  My crime is
 that of judging people by what they say and think, not what they look like.
 My crime is that of outsmarting you, something that you will never forgive me
 for.

-I am a hacker, and this is my manifesto.  You may stop this individual,
+        I am a hacker, and this is my manifesto.  You may stop this individual,
 but you can't stop us all... after all, we're all alike.

----
-
-Published in: Phrack, Volume One, Issue 7, Phile 3 of 10
+                               +++The Mentor+++
+_______________________________________________________________________________
--- a/content/manifestos/1987-unstable-media.txt
+++ b/content/manifestos/1987-unstable-media.txt
--- a/content/manifestos/2001-07-hacktivismo-declaration.txt
+++ b/content/manifestos/2001-07-hacktivismo-declaration.txt
@ -47,4 +47,4 @@ That state-sponsored censorship of the internet is a serious form of organized a

 That we will study ways and means of circumventing state sponsored censorship of the internet and will implement technologies to challenge information rights violations.

-Issued July 4, 2001 by Hacktivismo and the CULT OF THE DEAD COW. 
+Issued July 4, 2001 by Hacktivismo and the CULT OF THE DEAD COW. 
--- a/content/manifestos/2002-12-30-Wireless-Commons-Manifesto.txt
+++ b/content/manifestos/2002-12-30-Wireless-Commons-Manifesto.txt
@ -75,10 +75,9 @@ social, political and technical challenges we face. You will provide the
 resources your community consumes by co-operating with total strangers to
 build the network that we all dream of.

-jon lebkowsky    
-http://www.weblogsky.com    
-jonl@weblogsky.com
-
 Source: 

-http://fc.retecivica.milano.it/Reti%20Civiche/S03B1354A-03B13768?WasRead=1
+https://nettime.org/Lists-Archives/nettime-l-0212/msg00136.html
+
+NOTE: A copy of the original manifesto (plus the definition and signatories which were 
+released at the same time) is preserved at: https://adam.nz/wireless-commons/
--- a/content/manifestos/2007-avant-pop.md
+++ b/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).

@ -33,13 +33,13 @@ 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
+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

 **Author - Agent - Publisher - Printer - Distributor - Retailer - Consumer**

@ -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.
--- a/content/manifestos/2008-05-lo-fi-manifesto.md
+++ b/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:

--- a/content/manifestos/2008-07-Guerilla-Open-Access.txt
+++ b/content/manifestos/2008-07-Guerilla-Open-Access.txt
@ -24,4 +24,4 @@ With enough of us, around the world, we'll not just send a strong message opposi

 Aaron Swartz 

-July 2008, Eremo, Italy 
+July 2008, Eremo, Italy 
--- a/content/manifestos/2014-03-balconism.txt
+++ b/content/manifestos/2014-03-balconism.txt
@ -6,4 +6,4 @@ We are all outside on teh balcony now. Standing on a platform made out of a twee

 ---

-Constant Dullaart, 2014
+Constant Dullaart, 2014
--- a/content/manifestos/2015-01-new-clues.md
+++ b/content/manifestos/2015-01-new-clues.md
@ -49,7 +49,7 @@ January 8, 2015

 1. The Internet is not made of copper wire, glass fiber, radio waves, or even tubes.
 2. The devices we use to connect to the Internet are not the Internet.
-3. Verizon, Comcast, AT&T, Deutsche Telekom, and 中国电信 do not own the Internet. Facebook, Google, and Amazon are not the Net’s monarchs, nor yet are their minions or algorithms. Not the governments of the Earth nor their Trade Associations have the consent of the networked to bestride the Net as sovereigns.
+3. Verizon, Comcast, AT&T, Deutsche Telekom, and China Telecom do not own the Internet. Facebook, Google, and Amazon are not the Net’s monarchs, nor yet are their minions or algorithms. Not the governments of the Earth nor their Trade Associations have the consent of the networked to bestride the Net as sovereigns.
 4. We hold the Internet in common and as unowned.
 5. From us and from what we have built on it does the Internet derive all its value.
 6. The Net is of us, by us, and for us.
--- a/content/manifestos/2015-07-xenofeminism.txt
+++ b/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 
--- a/content/manifestos/2015-open-web-index.txt
+++ b/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.

--- a/content/manifestos/9999-end.txt
+++ b/content/manifestos/9999-end.txt
@ -12,7 +12,8 @@ Version 0.4 - June 2015
 Version 0.5 - September 2015    
 Version 0.6 - February 14 2016    
 Version 0.7 - February 18 2016     
-Version 0.8 (current) released July 21 2016
+Version 0.8 - July 21 2016  
+Version 0.9 (current) released January 23 2017

 Greyscale Press

--- a/images/manifestos-amazon-page.png
+++ b/images/manifestos-amazon-page.png
--- a/images/manifestos-amazon-related.png
+++ b/images/manifestos-amazon-related.png
--- a/notes/cover-calculator.html
+++ b/notes/cover-calculator.html
@ -0,0 +1,98 @@
+<!doctype html>
+<html class="no-js" lang="">
+    <head>
+        <meta charset="utf-8">
+        <title>Spine Calculator</title>
+        <meta name="description" content="">
+        <meta name="viewport" content="width=device-width, initial-scale=1">
+        <style>
+        html {
+			background: #999;
+        }
+        body {
+        	margin: 1em;
+        	border: 1px solid black;
+        	padding: 1em;
+        	background: #ddd;
+        	font-family: Avenir, "PT Sans", sans-serif;
+        }
+
+        h1 {
+            margin-top: 0;
+        }
+
+		input[type="number"] {
+			line-height: 2;
+			font-size: 100%;
+			padding-left: 0.5em;
+			width: 5em;
+		}
+
+		button {
+			font-size: 100%;
+			padding: 0.6em;
+			border: 1px solid green;
+			border-radius: 0.5em;
+			/* Rectangle: */
+			background-color: #A4EEBA;
+			box-shadow: 0px 0px 1em rgba(0,0,0,0.5) inset;
+			cursor: pointer;
+		}
+
+		button:hover {
+			background-color: #61CD81;
+		}
+
+		#result {
+			margin-top: 1em
+		}
+
+        </style>
+        <script type="text/javascript"></script>
+    </head>
+    <body>
+        <h1>CreateSpace Spine Calculator</h1>
+
+        <p>Enter the page count and obtain the spine width!</p>
+
+		<p>Page count: <input id="number" type="number" name=""></p>
+		<button>&rarr; Calculate</button>
+
+		<div id="result"></div>
+    </body>
+    <script type="text/javascript" src="jquery.js"></script>
+    <script>
+    	( function( $ ) {
+
+
+			$( "button" ).on( "click", function() {
+
+				var pages = $( "#number" ).val();
+
+                var spine = pages * 0.0025;
+
+                var output = "Spine width: "+spine+" inch<br>";
+
+                var cover = 8.5 + spine;
+
+                // Cover width
+
+                var output = output + "Cover width: "+cover+" inch<br>";
+
+                // With bleed
+
+                var output = output + "With bleed: "+(cover + 0.25)+" inch<br>";
+
+                // start of right page
+
+                var output = output + "Start of right page: "+(4.25 + spine)+" inch<br>";
+
+    			$( "#result" ).html( output );
+
+			});
+
+
+
+    	} )( jQuery );
+    </script>
+</html>
--- a/scripts/build.sh
+++ b/scripts/build.sh
@ -7,13 +7,24 @@

 ## 1: We declare some variables

-INPUT="../content/meta.txt ../content/manifestos/*.*" ## ../content/intro.txt 
+INPUT="../content/meta.txt" ## ../content/intro.txt
+INPUT="$INPUT ../content/manifestos/*.*"
+
 TEMP="../temp/newfile.txt"
 TEMP2="../temp/newfile2.txt"

 ##TIMESTAMP=$(date +"%s")
 TIMESTAMP=$(date -u +%Y%m%d_%H%M%SZ)
 OUTPUT="../output/Manifestos_for_the_Internet_Age-"$TIMESTAMP".pdf"
+OUTPUTEPUB="../output/Manifestos_for_the_Internet_Age-"$TIMESTAMP".epub"
+
+## Create the temp and output folder if they does not exist
+if [ ! -d "../temp" ]; then
+  mkdir ../temp
+fi
+if [ ! -d "../output" ]; then
+  mkdir ../output
+fi

 if [ ! -d ~/.fonts ]; then
  mkdir ~/.fonts
@ -45,7 +56,6 @@ END {
 }
 ' $INPUT > $TEMP

-
 ## awk '{print $0,"  x"}' $TEMP > $TEMP2
 ## mv $TEMP2 $TEMP

@ -62,7 +72,7 @@ END {
 ## HK Grotesk - by Alfredo Marco Pradil, Hanken Design Co.

 pandoc -f markdown --template=../templates/customV2 $TEMP \
-	--latex-engine=xelatex \
+	--pdf-engine=xelatex \
    --variable mainfont="HKGrotesk-Regular" \
    --variable boldfont="LinLibertineOB" \
    --variable italicfont="LinLibertineOI" \
@ -75,4 +85,19 @@ pandoc -f markdown --template=../templates/customV2 $TEMP \
    --include-before-body=../content/intro.txt \
    -o $OUTPUT

+pandoc -f markdown --template=../templates/custom $TEMP \
+	--pdf-engine=xelatex \
+    --variable mainfont="HKGrotesk-Regular" \
+    --variable boldfont="LinLibertineOB" \
+    --variable italicfont="LinLibertineOI" \
+    --variable fontsize=9pt \
+    --variable urlcolor=black \
+    --variable linkcolor=black \
+    --variable documentclass=book \
+    --toc --toc-depth=1 \
+    --listings \
+    --include-before-body=../content/intro.txt \
+    --to=epub2 \
+    -o $OUTPUTEPUB
+
 ## End of file
--- a/templates/custom.epub2
+++ b/templates/custom.epub2
@ -0,0 +1,51 @@
+<?xml version="1.0" encoding="UTF-8"?>
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.1//EN" "http://www.w3.org/TR/xhtml11/DTD/xhtml11.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml"$if(lang)$ xml:lang="$lang$"$endif$>
+<head>
+  <meta http-equiv="Content-Type" content="text/html; charset=utf-8" />
+  <meta http-equiv="Content-Style-Type" content="text/css" />
+  <meta name="generator" content="pandoc" />
+  <title>$pagetitle$</title>
+$if(highlighting-css)$
+  <style type="text/css">
+$highlighting-css$
+ background: #ddd;
+ color: blue;
+   </style>
+$endif$
+$for(css)$
+  <link rel="stylesheet" type="text/css" href="$css$" />
+$endfor$
+</head>
+<body$if(coverpage)$ id="cover"$endif$>
+$if(titlepage)$
+$for(title)$
+$if(title.text)$
+  <h1 class="$title.type$">$title.text$</h1>
+$else$
+  <h1 class="title">$title$</h1>
+$endif$
+$endfor$
+$if(subtitle)$
+  <h1 class="subtitle">$subtitle$</h1>
+$endif$
+$for(author)$
+  <h2 class="author">$author$</h2>
+$endfor$
+$for(creator)$
+  <h2 class="$creator.type$">$creator.text$</h2>
+$endfor$
+$if(publisher)$
+  <p class="publisher">$publisher$</p>
+$endif$
+$if(date)$
+  <p class="date">$date$</p>
+$endif$
+$if(rights)$
+  <p class="rights">$rights$</p>
+$endif$
+$else$
+$body$
+$endif$
+</body>
+</html>
--- a/templates/customV2.latex
+++ b/templates/customV2.latex
@ -134,7 +134,6 @@ $endif$
 $if(lang)$
 \ifxetex
  \usepackage{polyglossia}
-  \setmainlanguage{$mainlang$}
  \setotherlanguages{$for(otherlang)$$otherlang$$sep$,$endfor$}
 \else
  \usepackage[shorthands=off,$lang$]{babel}
Author	SHA1	Message	Date
Manuel Schmalstieg	4b1cdc9ff6	Updating amazon link	2024-08-15 23:05:09 +02:00
Manuel Schmalstieg	a993e5b956	Merge pull request #44 from MarioVilas/patch-1 Update 1986-hacker-manifesto.txt with original formatting	2024-08-15 23:00:46 +02:00
Mario Vilas	e9bf9ef8cf	Update 1986-hacker-manifesto.txt Reverted back to original (the formatting is intentional... it's poetry!)	2024-08-15 22:56:44 +02:00
Manuel Schmalstieg	1d49f8e648	Updating info for The Wireless Commons Manifesto Based on input by manifesto author @adamshand – see issue #43	2022-02-17 09:32:10 +01:00
Manuel Schmalstieg	8dfd279411	Merge pull request #42 from gingerbeardman/master generate epub2 format output	2021-12-08 23:34:21 +01:00
Matt Sephton	dfe828b022	generate epub2 format output	2021-12-08 11:53:02 +00:00
Manuel Schmalstieg	2bdadef557	Merge pull request #39 from gingerbeardman/master changes to build without warnings on macOS in December 2021 (and fixes #31 & #33) thanks @gingerbeardman !!	2021-12-06 22:06:09 +01:00
Matt Sephton	c50b58054f	Add epub building	2021-12-06 13:08:28 +00:00
Matt Sephton	79f3772c99	changes to build without warnings on macOS in December 2021 1. install included fonts 2. install required extensions 3. build	2021-12-06 13:00:51 +00:00
Manuel Schmalstieg	9234513c95	Merge pull request #37 from hansman/patch-4 Rename 2008-07-Guerilla-Open-Access.txt to 2008-07-Guerilla-Open-Acce…	2018-04-09 17:01:16 +02:00
Johann Steinbrecher	36e3ea879c	Rename 2008-07-Guerilla-Open-Access.txt to 2008-07-Guerilla-Open-Access.md	2018-04-09 10:53:19 -04:00
Manuel Schmalstieg	c2f29815b4	Merge pull request #36 from hansman/patch-3 Rename 1987-unstable-media.txt to 1987-unstable-media.md	2018-04-01 23:51:29 +02:00
Manuel Schmalstieg	875cb6167a	Merge pull request #35 from hansman/patch-2 Rename 2014-03-balconism.txt to 2014-03-balconism.md	2018-04-01 23:51:14 +02:00
Johann Steinbrecher	fbe9873c46	Rename 1987-unstable-media.txt to 1987-unstable-media.md	2018-04-01 17:45:19 -04:00
Johann Steinbrecher	6d1221457a	Rename 2014-03-balconism.txt to 2014-03-balconism.md	2018-04-01 17:36:34 -04:00
Manuel Schmalstieg	108985929c	Merge pull request #34 from hansman/patch-1 Rename 2001-07-hacktivismo-declaration.txt to hacktivismo-declaration.md	2018-04-01 23:01:05 +02:00
Johann Steinbrecher	fdbc9305c9	Rename 2001-07-hacktivismo-declaration.txt to 2001-07-hacktivismo-declaration.md	2018-04-01 16:52:24 -04:00
Manuel Schmalstieg	269cec8159	Merge pull request #32 from luistoledo/master Update build script to create output and temp folders when not there	2017-06-07 21:25:30 +02:00
Luis Toledo	92e231605f	Update build script to create output and temp folders when they does not exits	2017-06-07 21:16:48 +02:00
Manuel Schmalstieg	7a7ef0d506	minor change testing Atom Beta	2017-05-20 23:20:52 +02:00
Manuel Schmalstieg	adaa06fe29	adding cover spine calculator	2017-04-10 22:38:40 +02:00
Manuel Schmalstieg	797de1060f	needs to be added: Hacker Questions	2017-04-10 22:38:22 +02:00
Manuel Schmalstieg	869ac28989	making script more readable	2017-04-10 22:38:03 +02:00
Manuel Schmalstieg	dfdaef35ac	fixing release date	2017-04-10 22:37:37 +02:00
Manuel Schmalstieg	51272c6795	fixing non-breaking space caracters issue spotted by @kivikakk in https://github.com/github/markup/issues/1038	2017-04-10 22:37:29 +02:00
Manuel Schmalstieg	a438cb331b	adding Realtime Art Manifesto, see #26	2016-12-09 23:16:23 +01:00
Manuel Schmalstieg	73d338c2de	updating the README	2016-08-04 15:33:55 +02:00