\def\talk#1#2{\medskip\noindent\ignorespaces{% \def\PS{{\it P{\iteight OST\-}S{\iteight CRIPT}}}% \def\sgml{{\iteight SGML}}% \def\LaTeX{{\it L\kern-.36em\raise.3ex\hbox{\iteight A}\kern-.15emT\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}}% \it #1\/}: #2.\quad} \def\Textures{{\sl Textures}} \centerline{\bf Cahier GUTenberg} \smallskip \noindent The last \TeXline\ carried abstracts or summaries of the papers included in the `zeroth' edition of the Cahiers GUTenberg. Most of the summaries below are based on translations prepared by Catherine Griffin. The latest edition of the Cahiers, number 4, has short english abstracts (slightly enlarged here). This innovation is to be welcomed. While it is unlikely that \TeXline\ will ever follow suit, perhaps \TUGboat\ will. \smallskip \leftline{\bf Summaries from Number 1, April 1989:} \talk{Quelques r\'eflexions sur le traitement de textes informatis\'es \`a propos du logiciel \TeX}{Fran\c cois Chahuneau, pp.2--15} In the beginning of computing, that is, in the '50's, one could scarcely imagine using computers for text manipulation: first, computers were scarce; second, it was difficult enough to type computer programs on punch cards to dissuade any text except program comments; finally, in any case, the resulting printout, from impact printers -- all in capitals and without accents! -- would have been most disappointing. In the '70's, the parallel development of time-share systems and printing terminals (`teletypes'), the adoption of 7-bit \ascii\ which made possible the use both upper and lower case, and the appearance of line-editors caused a rapid development in this area. As a result of talk at MIT and in the research labs of Bell Telephone on the characteristics of a modern shared time system, we saw the appearance of much more powerful line-editors The same people were at the origin of the first text formatters such as {\tt roff}, of which the direct descendants -- keeping the same philosophy -- were Runoff and Compose on Multics or {\tt nroff} and {\tt troff} on \unix. To use these text formatters, one combines in a source text the text itself (sensu stricto?) with commands -- to a greater or lesser degree cryptic -- for the formatting program. \talk{\TeX\ et Baudelaire}{Raymond P Poggenbur, pp.16--20} Here is the history of the birth of a history of history, in other words, a chronology. If this work exists today in printed form, it is thanks to the marriage of \TeX{} and the DEC 1011, the computer of my university. The book `Charles Baudelaire: a micro-history', was published in April 1987 by Jose Corti in Paris. The book was typeset by the author, using \TeX{}. I propose to describe the origin of the project, then to suggest some possibilities for the development of this type of tool and I will end with some very brief remarks on the advantages of \TeX{} for the examination of chronological problems. \talk{\LaTeX\ or \sgml\ pouvaient-ils faire \'eviter la catstrophe de la gare de Lyon?}{Jacques Andr\'e, pp.21--25} We remember that 27 June 1988 when a train entered the Gare de Lyon at Paris, at fairly high speed and without brakes, ran into and embedded itself in a train waiting to depart: 56 dead and dozens of wounded. An enquiry was immediately organized by the Minister of Transport and the Sea. The results were published as a report -- a catastrophe of this magnitude is rarely due to a single cause, but is the result of a chain of circumstances. The report mentions in particular the possibility of a consciopusly harmful act (the closing of a tap), an alarm signal mistakenly pulled, the difficulty the mechanic had in applying the brakes, liaison problems by radio and blocked signals, the absence of an escape track, etc. But, and this is what prompted this article, the commission noted that, when presented with a real crisis, the relations that those in charge had to establish between the texts of the various regulations, which in turn included cross-references and footnotes, the rules for their application, and the procedures indicated by specialised instructions -- for example, breakdown procedures -- is not always straightforward. The enquiry also drew attention to the specific case of an error in the typography of the manual which could lead to a mistaken interpretation. \talk{Pr\'esentation d'une revue mensuelle compos\'ee automatique par \LaTeXsl\ \`a partir d'une base de donn\'ees relationelle}{Nicolas Brouard, pp.26--34} The `Revue fran\c cais des sondages' or `Sondoscope' is a monthly journal of about 40 pages, typeset automatically using \LaTeX{}, from the first to the last page. Each section has its own typographic design. A large part of the journal, mainly the tables, est extracted from a relational database. The aim of this article is to explain how we produce this journal, and the choices we have made. After briefly describing the journal, we will talk of the relevant material, then of the type of relational database used, and the interfaces bwetween the database and a text formatter such as \TeX{}. Finally, we will discuss questions which are not resolved by \TeX{} and \LaTeX{}. \talk {DDI Dessin DVI}{Andr\'e Violante, pp.35--38} \TeX{} is known for its imperviousness to any file type except \ascii. In fact, every entity is automatically reduced to a box containing `glue', characters and horizontal and vertical marks. These characters are only seen by \TeX{} as numeric codes. It is only during preview or printing that these codes are transformed to already existing graphic entities. For graphic representation, two possibilities are available to the user: \item{$\bullet$}use of the |\special| command to incorporate graphics into the document for printing. The drawback of this solution is that that the document is not independent of the peripheral, so it is not possible to preview the document as it will appear, and to prevent the the figure's text to be in \TeX{} characters; \item{$\bullet$}the use of semi-graphical fonts. We remain independent of the peripheral devices, and graphics done this way could be previewed on a screen or printed on an ordinary printer. \LaTeX{} exploits this possibility with its graphics environment. However, this solution is only for elementary graphics. \noindent DDI is a work environment for the creation of scientific, technical and artistic graphics. The fundamental of the system is the creation and use of graphic fonts. To use these, several tools are available: design software ({\tt Designcad}); a program to convert {\tt Designcad} files to \MF; \MF\ itself; GFtoPK; \TeX; and a suitable device driver. \talk{Evolution en amont de \TeX: le foisonnement des Pr\'eprocesseurs pour la Math\'ematique}{Laurent Siebenmann, pp.39--44} The problem of keying manuscruipts for a high quality printing is particularly difficult when the manuscripts are mathematical. Since Don Knuth created \TeX{} partly to resolve this well-known problem (which directly involved his own books!), it is probably interesting for the participants of the GUT day (including non-mathematicians) to note the different solutions surrently proposed. In fact, the realisation of these ideas is often of general concern. On the other hand, the specific pre-processors which I will mention, in particular my Sweet-teX{}, don't have the same usefulness as \TeX{} outside of mathematical sciences: they are specialised tools -- especially where they are in frequent use. \talk{Les concepts graphiques de \PS}{Bruno Borghi, pp.45--51} This article is devoted to an analysis of the graphics concepts in force in the page description language \PS{}. The basic principles of the \PS{} Graphics model are thus distinguished entirely independently of the proper language aspects (syntax, general operators). \talk{Une macro \TeX\ pour signaler les mises \`a jour\/}{Georges Weil, pp.52--53} This macro allows one to put a correction bar in the margin of one or more paragraphs. The macro |\maj| puts a bar for the paragraph which follows. The macro |\majdeb| puts a bar for all the paragraphs which follow until meeting the command |\majfin|. \talk{Les fiches cuisine d'Onc' \PS: Fiche N$^\circ$1: une table Tra\c cante}{Bruno Borghi, pp.64--66} \PS{} is wonderful, it allows you to write text in a spiral with one character funnier than the next, and all sorts of other delightful gimmicks. Honestly. The problem is that the great majority of applications are concerned with much more fundamental graphics problems: tracing presentable marks with a horizontal text. For this first cookbook file, Onc' \PS{} will consider an application which every \PS{} programmer has confronted: connecting a \PS{} printer to a vector graphics program. All the output conversion programs such as Tektronix, HPGL or Benson belong to this family. The problem is less simple than it appears, but the solutions which we will look at together could be adapted to more ambitious cases. \goodbreak\bigskip\goodbreak \leftline{\bf Summaries from Number 2, May 1989:} \talk{Xwindows, \LaTeX, \TeX draw et Plot79, ou comment calculer, r\'ediger, dessiner et imprimer plus ais\'ement}{Nicolas Brouard, pp.11--12} A workstation running under X-Windows offers a way of calculating, writing and designing which is much simpler than with a `classic' terminal. Two graphics tools, \TeX Draw (a public analogue of MacDraw) and PLOT79 (a 3D graphics system based on CORE), can easily be employed with \LaTeX. \talk{\TeX\ and Graphics: the state of the problem}{Nelson Beebe, pp.13--53} Inclusion of graphics in documents typset by \TeX\ is not yet a satisfactorily solved problem, and no final general solution is in sight. This paper surveys alternatives for insertion of graphics in \TeX\ documents. It summarizes graphics primitives of several modern software systems, and shows how \TeX\ has seriously deficient support for their direct incorporation in \TeX\ itself. \talk{JPDraw, un \'editeur de dessins pour \LaTeX\ sur SUN}{Jean-Pierre Merlet, pp.54--62} We will describe the a drawing editor working on the SUN in the {\tt suntools} environment. The first aim of this editor is to generate \LaTeX{} files in the `picture' environment. But it is also possible to save the designs as \PS\ images, or at least in the shape of instructions for a Hewlett-Packard type plotter for the creation of colour slides. JPdraw allows mouse manipulation of various geometric primitives (lines, text, rectangles, polygons, ellipses, ovals, various curves) similarly to Macdraw on the Macintosh. But is also has a meta-language for describing drawings, thereby allowing a convenient interface between a user program (for example dtp, image handling) and \LaTeX{}. \talk{\TeX\ et les graphiques dans l'environment Mac}{Anestis Antoniadis, pp.63--67} Painting and drawing are the two sides of the creation of graphics on the Macintosh. {\sl Paint\/} images (otherwise known as bitmaps) are known to the Mac as a set of points on the screen. {\sl Draw} images (also known as vector drawings) are known to the Mac as objects (rectangles, lines, circles, polygons) and are defined by their mathematical attributes. As a consequence of the way in which they are defined, they take full advantage of the resolution of \PS\ peripheral devices. The goal of this article is to give an overview of the methods and software for the generation of graphics on the Mac, and to discuss the insertion of such graphics in documents prepared with \Textures, one of the implementations of \TeX\ on the Macintosh. \talk{Traduction en \TeX\ d'un fichier \sgml\ avec r\'ecup\'er\-ation des graphiques et des tableaux}{Maurice Laugier, pp.68--72} The logic of \sgml\ markup is close to that of \LaTeX, and translation from \sgml\ to \LaTeX\ can be realised quite simply. However, the problem is rather different for graphics and tables. This paper presents a way in which the PC graphics characters were successfully mapped into \LaTeX, easing the production of tables and simple diagrams. \talk{GI\TeX, PAPS: deux logiciels minipulant \PS\ et \LaTeX}{Christophe C\'erin, pp.73--80}From pc-based graphics programs, PAPS (Programme d'App\-lication \PS) transforms an image into a \PS\ format. It will also allow some manipulation of the graphics image. GI\TeX\ (G\'en\'erateur d'Image \TeX) is a program which allows a {\tt figure} environment to be constructed for inclusion of the \PS\ into a \LaTeX\ file. \talk{L'incorporation de graphiques dans INRS\TeX}{\nl Michael Ferguson, pp.81--89} The approach used in INRS\TeX\ is to use the power of the printer to create graphics, and not to introduce special characters. The capability to generate graphics has been achieved for \PS, and for QMS graphics on a QUIC laser printer. The paper discusses the role of the printer as well as the need for support software to permit the incorporation of graphics produced by other systems. The paper also discusses some of the limitations inherent in the choice of graphics systems. \talk{L'environment de production de documents \TeX\ \`a l'IRISA}{Philippe Louarn \& Bertrand Decouty, pp.90--95} The group consists of over 200 researchers, teachers and engineers, who need to produce reports, articles, theses, books\dots\ The objective was to provide a set of homogenous tools in a heterogenous environment (Unix, VMS, workstations, pcs\dots). Naturally, \TeX\ was chosen as the fundamental tool. In graphics, the two main avenues are through the incorportion of \PS, and by the use of {\tt eepic} in the \LaTeX\ picture environment. \bigskip\goodbreak \leftline{\bf Summaries from Number 3, October 1989:} \talk{\TeX\ et les graphiques pour le PC}{Lance Carnes, Chris Bohn, Ian Griffin \& Brian Carnes, pp.4--8}% This talk reviews the various graphics systems offerings for the IBM pc and compatibles, and the ways these systems can be used in conjunction with \TeX; the use of \PS, HP PCL and bitmap files in conjunction with current \TeX\ drivers; the use of output from screen oriented drawing systems; and the conversion of graphics files from one format to another, and scaling of images, for inclusion in documents. \talk{{\ttit texpic}: design and implementation of a picture graphics language in \TeX\ \`a la {\ttit pic}}{Rolf Olejniczak, pp.9--20} {\tt texpic} is a \TeX\ implementation of a graphics language similar to Kerhighan's {\tt troff} preprocessor {\tt pic}. The implmentation consists of two parts, a set of elaborate \TeX\ macros and a postprocessor for drawing (in the {\tt dvi} file). {\tt texpic} objects and \TeX\ or \LaTeX\ commands may be combined at will. {\tt texpic} is written in C, and is fully portable, to the extent that every \TeX\ implementation, every preview and every correctly written printer driver will work with {\tt texpic}. \talk{Un pilote graphique entre le logiciel statistique S et \PiCTeX}{Olivier Nicole, pp.21--31} INRA replaced its Multics system with \unix. This gave us access to a large amount of public domain software, including \TeX, which would run on a wide variety of platforms. We evaluated several statistics packages, and eventually adopted S. We therefore had a syetem capable of typesetting mathematics and a statistics system which met our needs, but no way of connecting the two. This paper describes the development of a method of combining the two, through \PiCTeX. \talk{M\kern-0.2em\lower0.2ex\hbox{A}\kern-0.2emCRO\TeX: Un g\'en\'erateur de code \LaTeX\ impl\'e\-ment\'e en MACSYMA}{J Ph Chancelier \& A Sulem, pp.32--39} M\kern-0.2em\lower0.2ex\hbox{A}\kern-0.2emCRO\TeX\ is a code generator producing \LaTeX\ code form Macsyma, a system for symbolic calculus. M\kern-0.2em\lower0.2ex\hbox{A}\kern-0.2emCRO\TeX\ contains both translation functions from Macsyma into \LaTeX\ and paper generation facilities. So it adds the power of Macsyma to the quality of texts exited through \LaTeX. M\kern-0.2em\lower0.2ex\hbox{A}\kern-0.2emCRO\TeX\ is written in Common Lisp. \talk{Les fiches cuisine d'Onc' \PS: Fiche N$^\circ$2: une \'emulateur de table ra\c cante}{Bruno Borghi, pp.66--68}Continues the earlier paper to provide an emulation of a pen plotter for OPGL (Onc' \PS\ Graphic Language). \bigskip\goodbreak \leftline{\bf Summaries from Number 4, December 1989:} \talk{Normes et Fontes}{Daniel Dardailler, pp.2--8} This article gives an overview of the different standards, official or not, which may be met in the digital font world. There is an urgent need to standardise the whole range of features in this domain, from font names through to the type of mathematical curves used in representing letter shape. This would help make the process of document creation and interchange less difficult than they are at present. Four main sub-domains are suggested in which standardisation is needed: font names and styles; classification into e.g.~Latin, Kanji etc; the way the character is formed -- bitmap, outline; the vocabulary to be used -- what is a typeface, a font, etc? Gives an overview of many of the standards currently in production. \talk{M\'etriques des fontes en typographie traditionelle} {Jacques Andr\'e, 9--22} This paper is a tutorial on font metrics in hot metal. It is the first in a series of paper on digital typography. Gives the typographical terms used to describe typefaces and fonts (noting {\it en passant\/} that the King of France's thumb was bigger than that of the King of England -- and ultimately accounting for the difference between the sizes of the French and English `points'). Probably holds the record for number of footnotes per page (averaging 3!). Many examples, extensive bibliography. \talk{Punk: De \MFsl\ \'a \PS}{Jacques Andr\'e \& Victor Ostromoukhov, pp.23--28} The Punk font, initially designed by D. Knuth for \MF, has been translated into \PS. Thanks to the \PS\ font machinery, this new font is more dynamic than the genuine one. \talk{Une meilleure int\'egration du graphisme Macintosh} {Laurent Siebebmann, pp.29--38} Describes the integration of graphics with \TeX\ on the Macintosh, chiefly with \Textures, but also with other Mac implementations. Also notes the impact on Sweet-teX, and the latest feature of \Textures, allowing export of an {\sc epsf} file to, for example, Illustrator. \talk{\TeX\ 3.0 ou le \TeX\ nouveau va arriver}{Donald E Knuth, pp.39--45} A french translation of the article in \TUGboat\ 10(3) p.325--328. \rightline{\sl Catherine Griffin \& Malcolm Clark}