From e0c6872cf40896c7be36b11dcc744620f10adf1d Mon Sep 17 00:00:00 2001
From: Norbert Preining <norbert@preining.info>
Date: Mon, 2 Sep 2019 13:46:59 +0900
Subject: Initial commit

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+\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} 
+
+\centerline{\bf Cahiers GUTenberg}
+\smallskip
+\leftline{\bf Summaries from Number 5, May
+1990:}
+\frenchspacing
+\talk{Une \`ere nouvelle: \TeX~3.0}{Michael Ferguson}
+3--7; This paper presents some preliminary observations on
+the new capabilities of \TeX\ 3.0 and their relationship to
+the current capabilities of Multilingual \TEX. The paper
+discusses a simple modification that unlocks features
+that give it approximately the capability of the curent
+\TEX. Discusses some deficiencies of the new versions and
+makes some recommendations for electronic document
+exchange.
+
+\talk{Vers l'introduction de la coleur dans
+\TeX}{\hfil\break Christophe C\'erin \& Beno\^\i t Lemaire,
+8--15} Colour printers have become available over the last
+year. If they are destined to invade our offices, it is
+advisable that \TeX\  takes into account their new
+possibilities for a better computer assisted publishing
+($\approx$DTP).
+
+In this article we discuss, in the first place, colour in
+general (e.g.~its specification), then, through some
+examples, we try to bring out the classes of problems
+which call for classes of common solutions and common
+algorithms. This leads us to propose a minimal group of
+primitives permitting the resolution of the following
+problems:
+\item{$\bullet$}action on a syntactic element (letter,
+word, phrase, paragraph\dots). We distinguish two sub
+classes: 
+\itemitem{$\triangleright$}the simple use of constructions
+of the type |\begincolor|\dots|\endcolor|;
+\itemitem{$\triangleright$}more complex actions where the
+colour of a letter depends on that of its neighbours, or,
+more generally, parameters specifying the interaction of
+colours.
+\item{$\bullet$}action on a graphic entity like a
+rule(s), or elements from the picture environment.
+
+\noindent
+The implementation of the commands is through \PS\
+|\special|\/s used with Tom Rokicki's |dvips| driver. The
+macros were written to be used with \LaTeX. The printer
+employed is the QMS Color\-Script.
+
+\talk{D\'ebuter avec \LaTeX}{Jeannine Grimault \& Agn\`es
+Isambard, 16--19}
+This article summarises the problems encountered by
+non-computer science beginners who wanted to make \LaTeX\
+into a professional publishing tool. As ``non computer
+scientists'' some of the ideas given here require the
+indulgence of experienced \TeX ers. To begin with, we try
+to summarise our questions and express our hopes, and
+lastly we present ways to tailor the Mac to make \Textures\
+even easier to use.
+ 
+
+\talk{Pourquoi \TeX? Et pourquoi pas?\dots}{\hfil
+Maurice\break Laugier, 20--25}This article presents several
+examples of work typeset commercially with \TeX\ by
+Imprimerie Louis-Jean, indicating the range and ease with
+which \TeX\ sets such material. The examples range through
+Greek, Russian and `linguistic' texts, to chemical
+formul\ae\ and database publishing. It also mentions
+several programs which can convert wordprocessed material
+to \TeX.
+
+
+
+\talk{Sur les codes \`a barre EAN}{Laurent Guillop\'e,
+26--29} This article describes the structure of the
+barcodes of the EAN family (an EAN13 code is often printed
+nowadays on the last cover page of a book) and a set of
+\TeX\ macros used to realise them. It ends with some
+remarks on the practical implementation of these macros.
+
+
+\talk{Typographie de programmes Ada}{P Naudin \& C Quitte,
+30--40}In this article, we introduce a tool for typesetting
+programs written in a programming language with
+keywords. We propose a style derived from the one used by
+the {\tt WEB} system to typeset Pascal programs. The
+strength of the set of macros that really do the job lies
+in the internal mechanisms of \TeX\ in order to recognize
+the keywords, and thus no complex automated definition is
+required. This way the process is reasonably efficient,
+in contrast with the horrible slowness of a
+classical method written with \TeX.
+
+
+\talk{De la construction de diagrammes}{Francis Borceux,
+41--48} The {\tt diagram} style macros allow the automatic
+typesetting of diagrams made up of various types of arrows
+joining ``vertices'' which take the form of mathematical
+expressions. The program automatically calculates the
+length and position of each element. The use is able to
+impose a convenient scale factor on each diagram.
+
+\talk{Typesetting Bridge via \TeX}{Kees van der Laan,
+49--61} Enhanced plain \TeX\ macros and a bidding
+environment for typesetting bridge card distributions and
+bidding sequences are given. Macros for annotated printing
+of the course of the play are provided. Examples of use are
+given. (see also TUGboat 10(1), 113--116 \& 11(2),
+265--276).
+
+
+\talk{Musique en \TeX: \'ecriture
+de musique polyphonique ou instrumentale en ``plain
+\TeX''}{Daniel Taupin, 62--73}
+The possibilities which \TeX\ offers in combining a wide
+range of symbols and horizontal and vertical lines,
+together with its versatility as a procedural language
+has often encouraged musicians in the temptation to use
+\TeX\ to typeset music.
+
+We have been unable to resist this temptation and present
+a set of macros which allow the setting of polyphonic or
+orchestral music for between one and nine  instruments (or
+voices), each able to have its score
+written in a number of staves varying from zero (for
+example for the words of a song) up to four.
+
+The difficulties are of two kinds: on the one hand from
+the absence of musical symbols in the standard \TeX\
+fonts (notably clefs and beams), and on the other hand
+the fact that polyphonic or orchestral music is not just
+a linear expression like monodic scores, but is two
+dimensional.
+
+The first problem has been resolved partly by using the
+semi-graphical fonts ({\tt linew10}, {\tt circlew10}),
+giving results which are aesthetically questionable, but
+are portable and readable, and partly by using special
+music fonts ({\tt musicx16}, {\tt slur16} and {\tt
+beam16}). The second problem is the essential part of our
+work and we are able to offer widest range of
+possibilities to the composer or transcriber.
+
+Several examples are included.
+
+
+\talk{\TeX\ and SGML}{Kees van der Laan, 74--81}
+Terse text outlining what SGML is and is not, what \TeX\
+is, and their inter-relationship. Contains examples of
+the same tasks (a letter, bridge card deal and some maths)
+expressed in \LaTeX\ and SGML.
+
+\nonfrenchspacing
+\author{\mwc}
-- 
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