The World Inside the <strong>Computer</strong>red C'lgnozio, Associote EditorMaking Movies With Print Shop And Magic Slate"I don't belong here!" cried theteacher, shaking her head andfrowning. "My principal made mecome to this course to learn wordprocessing. But this isn't a computer course at all."As I looked around the room, Ihad to agree with her. I had takenover the elementary school's libraryto conduct my summer workshopson how to set up a multimediaclassroom. There were computers.But they were dwarfed by an arrayof other high-tech equipment whichsurrounded them. There were electronic keyboards, tape decks, turntables, huge stereo speakers andamplifiers, video cameras, tripods,VCRs, and boom boxes. The roomwas littered with stacks of videotapes, audio cassettes, boxes ofdisks, and record albums. Dozensof gray and black cables snakedtheir way across the floor. On thewalls were colorful Print Shop banners proclaiming, "Fred's Multi-Media Sandbox" and "Imagination,Creativity, and Storytelling."The room was a twenty-firstcenturystreet bazaar raucous withexotic, high-tech sounds.Beatles music blared from onespeaker, punctuated by helicopternoises and the gut-thumping vibrations from a temple gong producedby a synthesizer. One teacher haddigitized her voice and was playingit back on our Mirage samplingkeyboard: "Welcome ... Well ....Well... Well... Welcome ... to Fred'ssandbox," she sang—in a chorus ofvoices accompanied by a marimbaand a hammer dulcimer.20-Column WordProcessingI agreed with the disgruntled teacher that she had perhaps been sent tothe wrong workshop. "Look, Cherry," I said optimistically, "Now thatyou're here, let's try to make thebest of it."I steered her over to one of theworkshop's several Apple computers, sat her down, and got her started using the Magic Slate wordprocessor from Sunburst Communications. Since she had never useda computer before, I chose the wordprocessor's 20-column mode. Only20 letters fit on a line, and each ofthe letters is really big. In 20-column mode, it was easy to fill anentire screen quickly.I left Cherry searching for letters on the keyboard and went tohelp a teacher who was trying toplug her computer into a VCR. Forthe next half-day I was so busy Ididn't even think about how Cherrywas doing.The next morning while I wastraining a teacher on Brederbund'sFantavision program, someonegrabbed me, spun me around, andgave me a bear hug. It was Cherry!But she was smiling—delirious,even. "Come with me," she said,taking my hand and pulling meover to her computer. "See whatI've done!"We went over to her computerand looked at the screen. She hadwritten a wicked-witch story calledGundala—all on one screen. "That'smy daughter, Gundala," she said,beaming. "What do you think?"A New MovieBefore I could answer, one of myother teachers, Mike Roberts, said,"Let's set it to music." "And we canvideotape it," said another teacher."And Cherry can read it aloud,"suggestedanother.In five minutes the teachershad it all arranged. Mike madehaunted-house sounds on the Yamaha DX100 keyboard. Beverleyshot the Apple picture screen withthe video camera, and Cherry satright beneath the camera readingher story aloud. Beverley was sosmall she had to stand on a chairwhile she did the videotaping.We turned off all the lights,played back the tape, and watchedour little movie on the library's TV.It was great! The big, bright MagicSlate letters appeared on the TVscreen as if they were floating in ablack, nighttime sky. Mike's musicwas spooky and funereal. AndCherry had really hammed it upwhen she read the story.We all applauded Cherry, andshe stood up and took a little bow."Now that I know word processing,"she said, "I want to learn Print Shop."I had to make a phone call, so Iassigned another teacher to workwith Cherry for a while.I returned to the room 45 minutes later. "How's everything go....""Silence!" shouted Mara, a kindergarten teacher from Cahaba HeightsCommunity School. "We're tapingCherry's Print Shop movie."Cherry's Print Shop MOVIE? Iwondered. I groped my way intothe darkened room and sat down inone of the kid-sized library chairs.There at the front of the library,centered in a bright spotlight, wasCherry. Over her head, taped toone of the bookshelves, was a PrintShop sign. "Fun in the sun!" it said."Cherry Norman." In the middlewas a happy little sun, peeking outof a cloud and grinning.Our workshop had gotten offto a rocky beginning. Cherry hadled a revolt among several of theteachers who had corne to theworkshop expecting a basic primeron computers, keyboards, andword processing. I had visions ofthe whole workshop collapsingeven before it got started.But once Cherry began creating stories, poems, and movies onMagic Slate and Print Shop, she wason a roll. And the other teachersfollowed her. It was amazing to seehow much progress they made inonly two days. ©78 COMPUTEI February 1987
<strong>Computer</strong>s and SocietyDavid D. Thornburg, Associate EditorDemons And Events, Part 1The feature of the Macintosh thathas attracted the most attention isits user interface—menus, mice,windows, dialog boxes, and all theother distinguishing features of thiscomputer have now taken theirplace in the lexicon of most computer users.Features that were introducedto the public on the Macintosh havenow appeared on numerous othercomputers as well. One can hardlywalk past a display of Atari, Commodore, Apple II, or IBM computers without seeing some aspects ofa highly visual user interface.Apple's commitment to this interface is so complete that the AppleIlGS contains ToolBox routines tofacilitate the creation of Mac-likeprograms.But just as the Macintosh looks"different" from the user's perspective, it also looks different from theprogrammer's perspective. Programming for computers like theMacintosh is very different fromprogramming for other computers.If the user interface of this computer is changing the way we usecomputers, it may well change howwe program them as well.ComputationalMetaphorsEvery programming language supports a computational metaphor.For example, LISP programs aresets of functions to be evaluated,PROLOG programs are sets oftheorems to be proved, Pascal programs are sets of commands to becarried out, and so on. The reasonwe have so many different kinds ofprogramming languages is becausedifferent programming tasks arebetter expressed in one metaphorthananother.But metaphoric differencesaside, programs in most languagesconsist of strings of text containingsequences of instructions to be carried out by the computer. In manylanguages the order of program execution is the same as the order of theinstructions in the program. Whenthe user wants to change the order(by calling a subroutine, for example) a special branching instruction is explicitly invoked to causethe program to jump from one set ofinstructions to another set.Event-Driven ProgramsThere is another model of programconstruction that works differently:It breaks a program into two parts.The first part is a traditional program that is executed unconditionally. The program also includes thedefinition of other parts of the program (collected subroutines) thatare executed whenever certaineventsoccur.In other words, if you wantedto have a subroutine executedwhenever a joystick button washeld down, you would include aline somewhere in your programindicating that, whenever the button is pressed, the program is tostop whatever it is doing at thattime and execute another routineinstead. This command lets the program know that, in addition to itsother tasks, it is to check for a "button" event. Let's pretend that, lateron, the program starts to draw acomplex picture on the screen.While it is drawing this picture, youdecide to press the joystick button.As soon as you do, the programautomatically detects this "event"(without being "told" to by a special instruction) and execution isautomatically transferred to a subroutine. Once this routine is finished, control is returned to theoriginal picture-drawing task.This is the programming modelthat is used in creating programs forthe Macintosh, although I first encountered it with Atari Logo.Atari Logo (for the Atari <strong>80</strong>0and 400 computers) has a specialfeature called a WHEN demon. AWHEN demon is a special objectthat continuously monitors thecomputer, looking for any of 21special events to occur. Wheneverone of these events takes place, thedemon associated with the eventexecutes its own set of Logo instructions, no matter what other instructions or procedures are being usedat the time. When these demon instructions are finished and theWHEN condition is no longer satisfied, Logo goes back to doing whatever it was doing before the WHENdemon was activated.Demon programs can bethought of as sets of code that arejust lying asleep in the computerwaiting for a certain condition tobecome true. Whenever the condition is satisfied, the appropriateroutine wakes up, does its task, andthen goes to sleep again. Each demon procedure is independent ofthe others and is executed onlywhen its chosen condition or eventoccurs.Notice how different this isfrom our traditional method of programming. Normally, if we wantedto test for a certain number ofevents, we would write a programthat spent the bulk of its time in aloop checking for each event on acase-by-case basis.'Next month we'll explore thistopic some more by taking apart aMacintosh program—"peering under the hood," so to speak—to seejust what it is that makes programsfor this computer appear to be soresponsive to the whims of theuser.Dr. Thornburg's most recent productis Calliope, a nonlinear idea processor for the Apple lie, c,GS, Macintosh, and MS-DOS computers. Hewelcomes letters from readers and canbe reached in care of this magazine.®February 1987 COMPUTEI 79
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