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\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 \&amp; 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 \&amp; 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 \&amp; 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 \&amp; 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 \&amp; Malcolm Clark}
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