rtsi.com/2014.01.www.rtsi.com.tar/www.rtsi.com/OS9/OSK/APPS/lout2.lzh/LOUT2/DOC/TR.LOUT/ch1.04

Text File | 1994-01-25 | 10KB | 306 lines

@Section
   @Title { Galleys }
   @Tag { galleys }
@Begin
@PP
It is time to pause and ask ourselves how close we are to achieving our
aim of producing neatly formatted documents.  We can certainly produce
the pieces of a document, using the page layout definitions from Section
{@NumberOf definitions}:
@ID {

nohyphen @Break @LittlePageColumn {
@DP
|0.5rt {@B PURCELL}{ 0.8f @Font 1 ^//0.2v}
@DP
In the world of music England is supposed to be a mere province.  If she
produces an indifferent composer or performer, that is regarded
elsewhere as perfectly normal and natural; but if foreign students of
musical history have to acknowledge a British musical genius, he is
considered a freak.
@PP
Such a freak is Henry Purcell.  Yet if we make a choice of fifteen of
the world's musical classics, as here, we find that we cannot omit this
English master.
}

||1c

@LittlePageColumn
{ { 0.8f @Font 1 ^//0.2v}Blom, Eric.  @I {Some Great Composers.}  Oxford, 1944.
}

||1c

@Code {
       @LittlePage { "@TextPlace" //1rt "@FootSect" }
//     @LittlePage { "@TextPlace" //1rt "@FootSect" }
//     @LittlePage { "@TextPlace" //1rt "@FootSect" }
//0.2c 8p @Font "@PageList"
}

}
but when we try to merge them together, we encounter two obstacles.
@PP
First, when an object is entered at a certain place in the document, it
appears at that place.  But a footnote is naturally entered immediately
after the point it refers to (`{-2p @Font PURCELL}' in this case), yet it
appears somewhere else: at the bottom of a page.
@PP
Second, all our features build up larger objects out of smaller ones,
but the -2p @Font PURCELL object, for example, must be broken down into
page-sized pieces.  This occurs when the available space at the
`somewhere else' is insufficient to hold the entire object, so this
second obstacle arises out of the first.
@PP
Lout's last major feature, which we introduce to overcome these
obstacles, is the @I galley
galley.feature @Index { Galleys }
(the name is borrowed from the galleys
used in manual typesetting).  A galley is an object plus a cross
reference which points to where the object is to appear.  The example
above has three galleys:
@ID {

{
//0.1c

nohyphen @Break @LittlePageColumn {
@DP
|0.5rt {@B PURCELL}{ 0.8f @Font 1 ^//0.2v}
@DP
In the world of music England is supposed to be a mere province.  If she
produces an indifferent composer or performer, that is regarded
elsewhere as perfectly normal and natural; but if foreign students of
musical history have to acknowledge a British musical genius, he is
considered a freak.
@PP
Such a freak is Henry Purcell.  Yet if we make a choice of fifteen of
the world's musical classics, as here, we find that we cannot omit this
English master.
}  { //0.4c 180d @Rotate @Arrow 2.0c }

}

||0io ||4.8c

@Code {
       @LittlePage { "@TextPlace" //1rt "@FootSect" }
//     @LittlePage { "@TextPlace" //1rt "@FootSect" }
//     @LittlePage { "@TextPlace" //1rt "@FootSect" }
//0.2c 8p @Font "@PageList"
}  180d @Rotate @Arrow 1i @I -2p @Font {to printer}

||0io ||2.0c
{
//3.9c

{ @Arrow 1.7c }  nohyphen @Break @LittlePageColumn
{ { 0.8f @Font 1 ^//0.2v}Blom, Eric.  @I {Some Great Composers.}  Oxford, 1944.
}
}
}
A galley replaces the invocation pointed to by its cross reference.  If
space is not sufficient there to hold it all, the remainder of the
galley is split off (the vertical concatenation symbol preceding it
being discarded) and it replaces later invocations of the same symbol.
This is exactly what is required to get text and footnotes onto pages.
@PP
To create a galley, first define a symbol with a
special @Code into
into @Index { @Code into clause }
clause, like this:
@ID @Code {
"def @FootNote into { @FootPlace&&following }"
"   right x"
"{"
"   8p @Font x"
"}"
}
An invocation of such a symbol will then be a galley whose object is the
result of the invocation, and whose cross reference is given by the
@Code into clause.  The right parameter of the cross reference must be
either @Code preceding or @Code following.
@PP
A symbol, like @Code "@FootPlace", which is the @I target of a galley,
target @Index { Target of a galley }
must contain the special symbol @@Galley exactly once in its body; often
this is all that the body contains:
@ID @Code {
"def  @FootPlace  {  @Galley  }"
}
It is this special symbol that is replaced by the incoming galley, in
fact, not the @Code "@FootPlace" symbol as a whole.
@PP
A symbol which contains @@Galley, either directly within its body or
indirectly within the body of a symbol it invokes, is called a @I receptive
receptive @Index { Receptive symbol }
symbol, meaning receptive to galleys.  @Code "@FootPlace" is receptive, which
makes @Code "@FootList", @Code "@FootSect" and @Code "@PageList"
receptive since they invoke @Code "@FootPlace".  If no galley replaces
any @@Galley within some invocation of a receptive symbol, that
invocation is replaced by @@Null.  The advantages of this rule for page
layout were explained at the end of Section {@NumberOf definitions}.
@PP
Let us now follow through the construction of our example
document.  Initially there is just the one @I root
root.galley @Index { Root galley }
galley, containing an unexpanded invocation of @Code "@PageList":
@ID { ||5c
10p @Font @Code "@PageList"  180d @Rotate @Arrow 1i @I -2p @Font {to printer}
}
Then the -2p @Font PURCELL galley appears, targeted to a @Code
"@TextPlace".  Lout knows that there is a @Code "@TextPlace" hidden
inside @Code "@PageList", so it expands @Code "@PageList":
@ID {

{
//0.1c

nohyphen @Break @LittlePageColumn {
@DP
|0.5rt {@B PURCELL}{ 0.8f @Font 1 ^//0.2v}
@DP
In the world of music England is supposed to be a mere province.  If she
produces an indifferent composer or performer, that is regarded
elsewhere as perfectly normal and natural; but if foreign students of
musical history have to acknowledge a British musical genius, he is
considered a freak.
@PP
Such a freak is Henry Purcell.  Yet if we make a choice of fifteen of
the world's musical classics, as here, we find that we cannot omit this
English master.
}  { //0.4c 180d @Rotate @Arrow 2.2c }
}

||0io ||5c

@Code {
       @LittlePage { "@TextPlace" //1rt "@FootSect" }
//0.2c 8p @Font "@PageList"
}  180d @Rotate @Arrow 1i @I -2p @Font {to printer}

}
After promoting the first line into @Code "@TextPlace", the footnote
galley attached to it appears and demands an invocation of
@Code "@FootPlace" following its attachment point
(`{-2p @Font PURCELL}').  Such a @Code "@FootPlace" is found at
the bottom of the first page, inside @Code "@FootSect", which is
accordingly expanded, and the footnote is promoted onto the page:
@ID {

{
//1.2c

nohyphen @Break @LittlePageColumn {
In the world of music England is supposed to be a mere province.  If she
produces an indifferent composer or performer, that is regarded
elsewhere as perfectly normal and natural; but if foreign
students of musical history have to acknowledge a British musical genius,
he is considered a freak.
@PP
Such a freak is Henry Purcell.  Yet if we make a choice of fifteen of
the world's musical classics, as here, we find that we cannot omit this
English master.
}  180d @Rotate @Arrow 2.2c
}

||0io ||5c

{
nohyphen @Break @LittleDocument
//
@LittleText {
@DP
|0.5rt {@B PURCELL}{ 0.8f @Font 1 ^//0.2v}
@LittleFootNote
{ { 0.8f @Font 1 ^//0.2v}Blom, Eric.  @I {Some Great Composers.}  Oxford, 1944.
//1vx @Code "@FootList"
}
//1vx @Code "@TextPlace" }
//
@LittleEndRun
//0.2c 8p @Font @Code "@PageList"
}  180d @Rotate @Arrow 1i -2p @Font @I {to printer}

}
Now the promotion of the -2p @Font PURCELL galley resumes.  When the
first page is filled, Lout searches forwards for another @Code "@TextPlace"
to receive the remainder, once again expanding a @Code "@PageList":
@ID {

{
//4.85c

nohyphen @Break @LittlePageColumn {
performer, that is regarded
elsewhere as perfectly normal and natural; but if foreign
students of musical history have to acknowledge a British musical genius,
he is considered a freak.
@PP
Such a freak is Henry Purcell.  Yet if we make a choice of fifteen of
the world's musical classics, as here, we find that we cannot omit this
English master.
}  180d @Rotate @Arrow 2.2c
}

||0io ||5c

{
nohyphen @Break @LittleDocument
//
@LittleText {
@DP
|0.5rt {@B PURCELL}{ 0.8f @Font 1 ^//0.2v}
@LittleFootNote
{ { 0.8f @Font 1 ^//0.2v}Blom, Eric.  @I {Some Great Composers.}  Oxford, 1944.
}
@DP
      @HExpand {In the world of music}
//1vx @HExpand {England is supposed to}
//1vx @HExpand {be a mere province.  If}
//1vx @HExpand {she produces an indifferent composer or}
}
//
@LittleEndRun
//     @LittlePage { @Code "@TextPlace" //1rt @Code "@FootSect" }
//0.2c 8p @Font @Code "@PageList"
}  180d @Rotate @Arrow 1i -2p @Font @I {to printer}

}
and so on until the entire galley is promoted.  All these expansions and
replacements are done with total
integrity.  For example, if Lout finds after expanding @Code "@FootSect"
that the page is too full to accept even the first line of the footnote,
@Code "@FootSect" is reset to unexpanded and the search for a target for
the footnote moves on.  And the cross reference direction, @Code
preceding or @Code following, is always obeyed (although lack of space
sometimes prevents Lout from choosing the nearest target).  Only the
root galley contains receptive symbols in our running example, but in
fact any galley may contain them, without restriction.
@PP
When footnotes are placed at the bottom of a page, they appear there in
first come, first served order.  To make galleys appear in sorted order, as
sorted.galley @Index { Sorted galleys }
is needed in bibliographies and indexes, a parameter or nested definition
with the special name @@Key
key. @Index { @@Key parameter }
is added to the galley definition, like this:
@ID @Code {
"def @IndexEntry into { @IndexPlace&&following }"
"   left @Key"
"   right x"
"{ x }"
}
Like @@Tag, @@Key must be set to a simple word when the galley is invoked:
@ID @Code {
"cities @IndexEntry { cities, comparison of, 27 }"
}
and this key is used to sort the galleys.  If several sorted galleys
with the same key are sent to the same place, only one of them is
printed, since the others are probably unwanted duplicates.
@PP
The discussion of galleys is continued at a more detailed level in
Section {@NumberOf targets}.
@End @Section