Testing Web browsers as Platforms for Hebrew Text Publishing

Given that one important aspiration of the Open Siddur Project is the development of a web application for anyone to edit, maintain, and share the content of a personal prayerbook that they can craft online, I’m very concerned at how well web browsers today display the Hebrew language with all of its diacritical (vowels, cantillation) and punctuation marks. Indeed, the Open Siddur Project has an international scope, so ostensibly, we wish to support text in every language Jews speak or have ever spoken liturgy or liturgy-related text (the creative content of Jewish spiritual practice). Combine a digital font or fonts that support the full range of human written languages with a platform that correctly displays such fonts, and you have one basis for an excellent potential collaborative publishing platform.

So for the last year, I’ve been working on a series of tests to determine how well some popular and some less well-known web browsers perform in supporting the technology for displaying Hebrew text. In particular, I’m interested to see which browsers are failing to use a web standard called CSS @font-face to properly display Unicode Hebrew fonts that support the full range of Hebrew diacritics and which contain excellent font logic for diacritical positioning. I’m also keen on seeing which browsers might even be failing at recognizing bidirectional (BIDI) and right-to-left (RTL) text, given that Hebrew is read RTL and it’s not uncommon to find עִבְרִית and other left-to-right (LTR) languages written together with one another.

With these tests I also hoped to find some simple way by which an individual browsing the web could troubleshoot whether the problem is in their browser, their browser’s settings, or in a web page, when they find a web page that is poorly displaying Hebrew. I learned a great deal in the process and so I also made a page for web designer/coders to learn the correct way to craft a web page that will correctly display Hebrew.

Cross-posted to the Open Siddur Project.

What Happened‽ So what‽ Now what‽

2011 Gregorian. Such a quiet year for the Omphalos.

Even before New Year’s a year past, this blog had begun a mostly uninterrupted slumber beginning in 2009, what with most of my activity focused on directing the Open Siddur Project (2009-present), studying at Yeshivat Hadar (2009-2010), teaching with the Teva Learning Alliance (2010-2011), studying Hebrew and pedagogy in the Experiential Education program in the Davidson School of the Jewish Theological Seminary of America (2011-present), and currently, studying the complexity of modern Israel along with more Hebrew in the Kesher Ḥadash program of the Davidson School.

Most of these activities were documented publicly semi-privately via my twitter, Facebook,‎ and Google+ accounts, with all the caveats that proprietary social networks provide for archiving and redistributing creativity. Over the next few months, I hope to look back over the last few years and share publicly whatever output I’ve produced privately that might be worthwhile to share.

Through this effort I hope to document and construct a somewhat coherent narrative of my work since I left post-hurricane Louisiana after working there as an urban/environmental/GIS planner 2006-2008. Privately, I tell variations of this story to friends without the benefit of illustrations, but with the benefit of long walks and digressions. I think it’s time I explain myself, in the manner of Italo Calvino’s Marco Polo in Invisible Cities — with pantomime, gesticulation, unexplicated esotericism, and a translation that relies entirely on your patience and interest. Before my Kublai Khan, I have to present endless yarns spun from ever accumulating navel lint, an assemblage of obtuse details the connection of one to the other might otherwise seem ponderous, but I hope not pretentious. So bare with me, please.

I still hope to work and contribute as an urban/environmental planner, public historian and educator. I still harbor sage-like aspirations. I’m still hopelessly entangled in a great vein of string spun by others to document their own progress through the vast labyrinth of psychedelic and gnostic insight. Freedom, compassion, creativity, and awareness remain the touchstones of my intention, the grounding for my empathy and the foundation of my commitment in my work. Twelve years ago I learned some wonderful things while bicycling along the Schuylkill River in Philadelphia and the consequence of this gnosis is that I now can’t help but see prisons and cages everywhere. Facilitating creative activities, constructing open spaces, helping to recover lost wisdom — these express my intentions. And I’m still searching for that loose alliance of friends who share these objectives in bringing more people into the next age.

Varady’s Fabulous Flying Keyboard

Varady's Fabulous Flying Keyboard (Level 1)

Behold my Flying Keyboard!

Ever want a keyboard configuration you could switch to for odd characters‽ You know, so you could add an Ḥ in Ḥanukah without copying and pasting from this page (or your favorite “Character Viewer” program).

Well I made such a keyboard configuration that you can download and install on your very own computer. (Only works for Windows OS, alas.) Download, unzip and install.

The keyboard layout includes glyphs mapped onto the universal and international standard Unicode character encoding schema. You’ll have to use the layout along with a font (e.g. DejaVu Sans) that supports all of these glyphs. Such fonts are installed with the popular, cross-platform, free/libre and open source LibreOffice application.

Varady's Fabulous Flying Keyboard (Level 2)

I was tired of using the Windows Character Viewer to access a number of useful character glyphs including the Ḥ. So I made my own keyboard layout using the proprietary but free-without-fee program called “Microsoft Keyboard Layout Creator v1.4.” (Windows only, although it’s also possible to do something similar for Macs and Linux.) If you want to hack the keyboard layout I made, I’ve included the layout in a directory named “source” in the zip which also includes the images above.

Mac keyboard layouts are directly modifiable using a 3rd party free-without-fee tool called Ukelele. Re: Linux, like much of the rest of the configuration on *nix type systems, keyboard layouts for the X Window System are defined in easily editable text files. See this page for more info.)

UPDATE: For Windows users, Steg adds this useful information,

Go to your System Setttings and find the Language/Keyboard settings and add the input method “U.S. Extended”. Then start using it. To type a Ḥ type option-x and then H.

GNU General Public License + Font Exception

 

UPDATE: I managed to convince the army of volunteer editors to approve an article I wrote on the GPL+FE (General Public License with font exception clause). This after my initial disastrous foray into wikipedia article posting. For those counting, this is my third approved article on Wikipedia.

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Lately, for the Open Siddur Project, I’ve been putting together a font package for more easily distributing extant free/libre licensed Unicode Hebrew fonts. These fonts tend to be licensed with SIL’s Open Font License (e.g., EzraSIL and Cardo), or the GNU General Public License (GPL, e.g., Maxim Iorsh’s Culmus Project fonts). Because of the differences between fonts and other software code in their usage, there arose some conflicts which necessitated an exception to the GPL specifically for fonts. Unfortunately, the GPL font exception statement is somewhat buried in the Free Software Foundations GPL FAQ. Because important information on the GPL+FE is nowhere on the Internet included in one single post, I’ve reformatted it and shared it below.

From the Free Software Foundation’s GNU General Public License FAQ, “How does the GPL apply to fonts?“:

Font licensing is a complex issue which needs serious consideration. The following license exception is experimental but approved for general use. We welcome suggestions on this subject—please see this this explanatory essay and write to licensing@gnu.org.

To use this exception, add this text to the license notice of each file in the package (to the extent possible), at the end of the text that says the file is distributed under the GNU GPL:

As a special exception, if you create a document which uses this font, and embed this font or unaltered portions of this font into the document, this font does not by itself cause the resulting document to be covered by the GNU General Public License. This exception does not however invalidate any other reasons why the document might be covered by the GNU General Public License. If you modify this font, you may extend this exception to your version of the font, but you are not obligated to do so. If you do not wish to do so, delete this exception statement from your version.

The drafter of the GPL+FE statement above, explained the need for the GPL+FE in the following post, “Font Licensing” (FSF 2005).

Font Licensing

by novalis Contributions — last modified May 17, 2010 16:43

By David “Novalis” Turner

There has been some recent confusion about font licensing. Since I wrote the font exception, let me tell you a bit about where we are, and how we got there, and what this all means to you.

First, in the US, the copyright status of fonts is somewhat confused. A font face — that is, the look of a font, is not copyrightable (see Eltra Corp. v. Ringer, 579 F.2d 294 (4th Cir. 1978)). But font “programs” (truetype fonts, for example) are. Another ruling has extended the definition of “programs” to include certain outline data. Why this outline data is not equivalent to a font face, nobody knows. Helpfully, the copyright office has also issued contradictory statements on this. I don’t know how font copyright works in other countries.

What this means is that no font is going to affect the distributability of a printed document in the US. Further, merely referencing the font (as in the CSS font-face: caslon;) does not create a derivative work of that font. So why did we worry about font licensing at all?

The situation we were considering was one where a font was embedded in a document (rather than merely referenced). Embedding allows a document to be viewed as the author intended it even on machines that don’t have that font installed. So, the document (a copyrighted work) would be derived from the font program (another work). The text of the document, of course, would be unrestricted when distributed without the font.

This isn’t an artifact of the GPL; it’s just the way fonts work. Proprietary fonts often explicitly forbid embedding. So, if you want to send your document off to a printing service, the printing service needs to buy another copy of the font.

I was unhappy with even this amount of influence for fonts, because (a) it’s rarely what font authors intend and (b) it’s possible that some applications do embedding behind the user’s back. The situation seemed to me to be similar to the case of the runtime libraries which GCC automatically includes in its output (and which are licensed to permit inclusion in proprietary software). So, I wrote the font exception you see on our web site.

The reason the exception is so limited is that we’re worried about someone extracting a font from a document, and redistributing it. Extraction is, in my view, the major issue that a font license must confront. Because I haven’t been able to come up with a license which correctly handles embedding and extraction in all cases, I’ve restricted this exception to unaltered fonts. This means that someone can’t use embedding as a way to distribute a modified version of a font under restrictive terms. If you have suggestions for how to write a license which better handles extraction, please let us know. We haven’t had time to give this as much thought as we’ve given some of the other issues involved in free licensing. We’re especially interested in hearing from font creators at licensing@gnu.org.

On Potters and Potlings (or On turning forward with one’s head turned backwards)

A few weeks ago I was asked on the (Star) Trek Jews list what the Jewish concept of t’shuva means… here is what I wrote for someone who might know very little about Jewish thought and philosophy. I think I would have liked it to have more quotes from sources, TaNaKh, Talmud, and other scholars, and in that way not only be a decent explanation but also more of a model of the kind of scholarship I would prefer to read and follow up on as a beginner. I’m looking for feedback on how to be a better communicator of these concepts, as I understand them.

Literally t’shuva means turning, as in re-turning to a forest path after one accidentally loses sight of it, covered in leaves.

T’shuva is something of a cosmically significant concept within Jewish thought. Cosmically, because the concept of t’shuva is used to answer BIG problems. Classically, t’shuva is a response to the problem of how the world remains despite the presence of evil. Said differently, t’shuva helps explain how we can keep our sanity despite the presence of so much suffering caused by intentional wickedness and callous disregard.

For example, imagine a potter creating a pot at a potter’s wheel. What if the form of the pot began to deviate from the vision of the potter. Well, the potter could just as easily smush the pot and start over again.

Now imagine that the pot is imbued with magical powers. Not only can it hold water, but it can ask for water and pour its own water into other pots — even make new pots! New creatures can grow from the water inside the pot too and also be imbued with some of its power. Now what if the some of these creatures come to abuse their power by withholding water from their fellow creatures, or by sullying it, or by mythologizing that they themselves are the source of and reason for all water being. Well, then the potter can still crush the pot and start over again.

Alternately, there could be some sort of safeguard that can protect this pot and its emergent potlings from being so easily destroyed. The answer is t’shuva — a kind of a safeguard for all relationships, protecting creations from their creators, children from their parents, or lovers from indiscretions. Transgressing beyond healthy boundaries invites danger — t’shuva is a way of returning back to the place of safety by healing relationships. Faith in the fact of t’shuva’s existence as woven into the fabric of creation becomes both a guarantee that relationships can be healed and a sign that our relationships are founded on an understanding of loving-kindness (ḥesed in Hebrew) rather than the simply the manifestation of “rules” (or in Hebrew, din).

We can try to lead our lives with consideration for others, expressing our empathy beyond ourselves, beyond our kin and ken, even beyond this world into imaginary realms, but when we fail — when we hurt — all is not lost. The dream of my ancestors was a fragile world balanced on the head of a pin, its continued existence depending on our intentions and actions to suffuse the world with loving-kindness. Without t’shuva the world descends into unmitigated anger, despair, and doom.

Given the history of the Jewish people, perhaps it’s already apparent why this concept could be so important in Jewish teachings… both in the mystical and non-mystical school of Judaism, which assumes the world is continually sustained by a Creative Consciousness but also greatly in need of a tikkun or repair/healing. In the non-mystical schools, t’shuva might only describe an ethical responsibility one has in their relationships to be conscious of their transgressions and humble in submitting their ego in a process of repentance towards aggrieved or possibly aggrieved parties, to heal them. In the mystical schools, t’shuva helps to explain how the world can continue to exist despite an apparent fracture between the transcendent unknowable aspect of creation, and the manifest revealed aspect. The consequence of this fracture is itself reflected in the difficulty we experience in always respecting the beauty of creation and our fellow creatures in our actions. (The meaning of each of our lives is thus in the potential for us to take part in this cosmic healing, by being living, compassionate, aware, and creative bridges between these two aspects.)

Practically then, T’shuva becomes an everyday awareness practice: to be conscious of when a relationship might be transgressed or a fellow creature injured callously or by negligence. As a community, Jews are enjoined to do an intense group t’shuva on Yom Kippur, and in traditional Jewish practice begin preparing for that day more than a month in advance by apologizing to their friends, neighbors and through soul searching. As a mythic ritual, Yom Kippur plays out the concept of t’shuva helping to preserve the world despite the vast lack of awareness which radiates suffering across the myriad relationships that take place between all of its manifest creatures.

Any number of classic Ḥasidic texts can provide additional insight although I’m partial to Raphael Patai’s Hebrew Goddess for a more historical account of the evolving narrative of broken relationships in Jewish cosmology. For those already familiar with t’shuva, I would specifically recommend Philip K. Dick’s novel, The Galactic Pot Healer.

“We must move forward, not backward; upward, not forward; and always twirling, twirling, twirling towards freedom.” — “Kang for President” (The Simpsons: Treehouse of Horror VII)