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Frequently Asked Questions (FAQS);faqs.273 Material Feminism A movement in the late 19th century to liberate women by improving their material condition. This meant taking the burden of housework and cooking off their shoulders. _The Grand Domestic Revolution_ by Charlotte Perkins Gilman is one reference. [RZ] Moderate Feminism: This branch of feminism tends to be populated by younger women or other women who have not directly experienced discrimination. They are closely affiliated with liberal feminism, but tend to question the need for further effort, and do not think that Radical feminism is any longer viable and in fact rather embarrassing (this is the group most likely to espouse feminist ideas and thoughts while denying being "feminist"). [CTM] 'pop-feminism' This term has appeared several times on soc.feminism. It appears to be a catch-all for the bogey"man" sort of feminism that everyone loves to hate: you know, the kind of feminism that grinds men under its heel and admits to no wrong for women. It is doubtful that such a caricature actually exists, yet many people persist in lumping all feminists into this sort of a category. [CTM] Radical Feminism: Provides the bulwark of theoretical thought in feminism. Radical feminism provides an important foundation for the rest of "feminist flavors". Seen by many as the "undesireable" element of feminism, Radical feminism is actually the breeding ground for many of the ideas arising from feminism; ideas which get shaped and pounded out in various ways by other (but not all) branches of feminism. [CTM] Radical feminism was the cutting edge of feminist theory from approximately 1967-1975. It is no longer as universally accepted as it was then, nor does it provide a foundation for, for example, cultural feminism. In addition, radical feminism is not and never has been related to the Maoist-feminist group Radical Women. [EE] This term refers to the feminist movement that sprung out of the civil rights and peace movements in 1967-1968. The reason this group gets the "radical" label is that they view the oppression of women as the most fundamental form of opression, one that cuts across boundaries of race, culture, and economic class. This is a movement intent on social change, change of rather revolutionary proportions, in fact. [JD] Ironically, this get-to-the-roots movement is the most root-less variety of feminism. This was part of its strength and part of its weakness. It was always dynamic, always dealing with factions, and always full of ideas. Its influence has been felt in all the other varieties listed here, as well as in society at large. [JD] To me, radical feminism is centred on the necessity to question gender roles. This is why I identify current "gender politics" questions as radical feminist issues. Radical feminism questions why women must adopt certain roles based on their biology, just as it questions why men adopt certain other roles based on theirs. Radical feminism attempts to draw lines between biologically- determined behavior and culturally-determined behavior in order to free both men and women as much as possible from their previous narrow gender roles. [EE] The best history of this movement is a book called _Daring to be Bad_, by Echols. I consider that book a must! [JD] Another excellent book is simply titled _Radical Feminism_ and is an anthology edited by Anne Koedt, a well-known radical feminist [EE]. Radical feminist theory is to a large extent incompatible with cultural feminism. The reason is that the societal forces it deals with seem so great in magnitude that they make it impossible to identify any innate masculine or feminine attributes except those which are results of the biological attributes. (This is what I think the [above] "view[s] the oppression of women as the most fundamental form of oppression," [is getting at] although I don't agree with that statement in its context.) [DdJ] Separatists: Popularly depicted as Lesbians, these are the feminists who advocate separation from men; sometimes total, sometimes partial. Women who organize women-only events are often unfairly dubbed separatist. Separatists are sometimes literal, sometimes figurative. The core idea is that "separating" (by various means) from men enables women to see themselves in a different context. Many feminist think this is a necessary "first step", by which they mean a temporary separation for personal growth, not a permanent one. [CTM] There is sometimes some overlap between separatist and cultural feminists (see below). [SJ] It is inaccurate to consider all Lesbians as separatist; while it is true that they do not interact with men for sexual fulfillment, it is not true that they therefore automatically shun all interaction with men. [CTM] And, conversely, it is equally inaccurate to consider all separatists Lesbians. Additionally, lesbian feminism may be considered a category distinct from separatist feminism. Lesbian feminism puts more emphasis on lesbianism -- active bonding with women -- than separatism does, in its emphasis on removing bonds with men. [EE] [Other categories? Both formal and informal are welcome.] Men's Movements: [Contributed by Dave Gross. Some of the articles mentioned are available on request at dgross@polyslo.calpoly.edu.] It may seem odd to include some notes on men's movements in a description of feminism. However, many of these movements were started in reaction to feminism: some inspired by and others in contra-reaction to it. In this context, examining men's movements tells of some specific reactions to feminism by men. Feminist Men's Movement: These groups are closely aligned ideologically with the feminist movement. They believe that we live in a patriarchal system in which men are the oppressors of women, and that the men's movement should identify this oppression and work against it. Most of the [City-name] Men Against Rape groups fall under this category. The largest feminist men's group is the National Organization for Changing Men (which may or may not have recently changed its name to the National Organization for Men Against Sexism). Some publications from this viewpoint are "Changing Men," the journal of NOCM, and the following books: "The Liberated Man" by Warren Farrell "The Male Machine" by Marc Feigen Fasteau "The 49% Majority" ed. by Deborah David & Robert Brannon "Refusing to Be a Man" by John Stoltenberg. [DG] There is much debate among female feminists over whether or not men can be feminists. Female feminists are more or less evenly split over this, some arguing that there is nothing to prevent men from being feminists, and others arguing that you have to know what it is like to be a woman to be a feminist. [CTM] Men's Liberation Movement: Other names: Masculist movement, Men's Rights movement. These groups, while quite similar to feminists in several areas (gay rights, belief in equal opportunity in the workplace, etc.) generally do not believe in the theory that we live in a patriarchy in which men oppress and women are oppressed. They tend to believe instead that a system of sex roles oppresses both men and women, keeping both from their potential. Some of the groups with this viewpoint are: Men's Rights Inc., National Coalition of Free Men, National Congress for Men, National Center for Men. Some of the publications from this viewpoint are "Transitions," the journal of the NCFM, and the following books: "Why Men Are the Way They Are" by Warren Farrell "The Hazards of Being Male" by Herb Goldberg "Men's Rights" by Bill & Laurie Wishard "Men Freeing Men" ed. by Francis Baumli. Mythopoetic Men's Movement: These are the ones you see on TV and in magazines wearing masks and beating drums. Robert Bly, the father-figure of this movement, says that men have abandoned the destructive masculine stereotype in favor of a less destructive feminine ideal, but that this has not made them happy. Instead of returning to the masculine stereotype, men need to identify with the "wild man." This movement is less political than spiritual, and it's difficult to identify just what these folks stand for. But if you want to try, check out the interviews with Bly and with Shepherd Bliss in the Nov/Dec 1989 Utne Reader, or pick up "Men's Council News" or Robert Bly's surprise best-seller "Iron John." The New Traditionalists: I don't know much about these groups. The only one I'm aware of is the National Organization for Men run by Penthouse columnist Sidney Siller. Maybe R.F. Doyle's Men's Rights Association (if it still exists) qualifies as well. These groups look, on the surface, much like the Men's Liberation groups, but underneath there is a current of resentment that the old sex roles have dissolved. Some openly say that women just aren't men's equals, and should have stayed home with the kids. This is that "male backlash" you've probably read about. Read "The Rape of the Male" by R.F. Doyle for a good idea of how these folks think (the front cover is a picture of the crucifiction). Also, Esther Vilar's "The Manipulated Man" (written by a woman in 1972, and pretty scary). The Father's Movements: Some people hold that this is a separate group from the Men's Liberation Movement. There are some groups that are only interested in issues like divorce reform, and ignore issues like violence toward men, gay rights, and the draft. Many of these groups are very similar to Men's Liberation groups, and only differ by their concentration. Some explicitly exclude issues like gay rights in order to not risk offending some of their members, and this could itself be considered an ideological position which would separate them from the Men's Liberation groups. I can't think of any groups like this right now, though the Joint Custody Association comes to mind (they also do some non-father oriented men's lib stuff, though). Publications would include: "How to Win Custody" by Louis Kiefer "Weekend Fathers" by Gerald and Myrna Silver -------------- My thanks to: Ellen Eades[EE] David desJardins [DdJ] Jym Dyer [JD] Thomas Gramstad [TG] Rebecca Grinter [RG] David Gross [DG] (incl. all info on men's movements) Stacy Johnson [SJ] Rudy Zalesak [RZ] -------------- Please mail in comments, additions, corrections, suggestions, and so on to feminism-request@ncar.ucar.edu. --Cindy Tittle Moore "I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat, or a prostitute." -- Rebecca West, 1913 Xref: bloom-picayune.mit.edu comp.fonts:6629 news.answers:4481 Path: bloom-picayune.mit.edu!enterpoop.mit.edu!think.com!ames!saimiri.primate.wisc.edu!caen!nic.umass.edu!dime!dime.cs.umass.edu!walsh From: walsh@cs.umass.edu (Norman Walsh) Newsgroups: comp.fonts,news.answers Subject: comp.fonts FAQ.diffs-1.1.0-1.1.1 Summary: This posting answers frequently asked questions about fonts. This file contains the context diffs of version 1.1.0. of the FAQ and version 1.1.1. of the comp.fonts FAQ. Message-ID: <WALSH.92Dec7141934@ibis.cs.umass.edu> Date: 7 Dec 92 19:19:34 GMT Expires: 8 Jan 93 00:00:00 GMT Sender: news@dime.cs.umass.edu Reply-To: walsh@cs.umass.edu (Norm Walsh) Followup-To: poster Organization: Dept of Comp and Info Sci, Univ of Mass (Amherst) Lines: 929 Approved: news-answers-request@MIT.Edu Archive-name: fonts-faq/diffs Version: 1.1.1. diff -c2 newfaq/FAQ.1a.General-Info oldfaq/FAQ.1a.General-Info *** newfaq/FAQ.1a.General-Info Mon Dec 7 14:08:35 1992 --- oldfaq/FAQ.1a.General-Info Mon Dec 7 14:02:25 1992 *************** *** 1,5 **** FAQ for comp.fonts: Chapter I: General Info ! Version 1.1.1., Release 07DEC92 Welcome to the comp.fonts FAQ. These articles, posted monthly, describe many --- 1,5 ---- FAQ for comp.fonts: Chapter I: General Info ! Version 1.1.0., Release 02NOV92 Welcome to the comp.fonts FAQ. These articles, posted monthly, describe many *************** *** 80,84 **** Standard disclaimers apply. ! The FAQ is maintained by Norm Walsh <walsh@cs.umass.edu> 1. What's the difference between type 1 fonts, type 3 fonts, type 5 fonts, --- 80,85 ---- Standard disclaimers apply. ! The FAQ is maintained by Norm Walsh <walsh@cs.umass.edu> and ! Bharathi Jagadeesh <bjag@nwu.edu>. 1. What's the difference between type 1 fonts, type 3 fonts, type 5 fonts, *************** *** 106,123 **** characters. ! Outline fonts represent each character mathematically as a series of lines, ! curves, and 'hints'. When a character from an outline font is to be ! printed, it must be 'rasterized' into a bitmap "on the fly". PostScript ! printers, for example, do this in the print engine. If the "engine" in the ! output device cannot do the rasterizing, some front end has to do it first. ! Many of the disadvantages that are inherent in the bitmapped format are not ! present in outline fonts at all. Because an outline font is represented ! mathematically, it can be drawn at any reasonable size. At small sizes, ! the font renderer is guided by the 'hints' in the font; at very small ! sizes, particularly on low-resolution output devices such as screens, ! automatically scaled fonts become unredable, and hand-tuned bitmaps are a ! better choice (if they are available). Additionally, because it is ! rasterized "on demand," the font can be adjusted for different resolutions ! and 'aspect ratios'. LaserJet .SFP and .SFL files, TeX PK, PXL, and GF files, Macintosh --- 107,125 ---- characters. ! Outline fonts represent each character mathematically as a series of ! lines, curves, and 'hints'. When a character from an outline font is to ! be printed, it must be 'rasterized' into a bitmap "on the fly". ! PostScript printers, for example, do this in the print engine. If the ! "engine" in the output device cannot do the rasterizing, some front end ! has to do it first. GhostScript, for example, rasterizes the page before ! it displays it on the screen. Many of the disadvantages that are ! inherent in the bitmapped format are not present in outline fonts at all. ! Because an outline font is represented mathematically, it can be drawn at ! any reasonable size without significant loss of quality (at least, the ! loss of quality is not a direct consequence of resizing it--any font ! printed at a small enough size shows a significant loss of quality as the ! size approaches the resolution of the device). Additionally, because it ! is rasterized "on demand," the font can be adjusted for different ! resolutions and 'aspect ratios'. LaserJet .SFP and .SFL files, TeX PK, PXL, and GF files, Macintosh *************** *** 126,131 **** PostScript Type 1, Type 3, and Type 5 fonts, Nimbus Q fonts, TrueType ! fonts, Sun F3, MetaFont .mf files, and LaserJet .SFS files are all examples ! of outline font formats. Neither of these lists is even close to being exhaustive. --- 128,132 ---- PostScript Type 1, Type 3, and Type 5 fonts, Nimbus Q fonts, TrueType ! fonts, and LaserJet .SFS files are all examples of outline font formats. Neither of these lists is even close to being exhaustive. *************** *** 153,162 **** other) section. ! *-[Semi-Quote]------------------------------------------------------* ! ! [Ed Note: Liam R. E. Quim supplied many changes to the following ! section in an attempt to bring it up to date. Hopefully it is a ! better reflection of the state of the world today (12/07/92) than it ! was in earlier FAQs] There has been a lot of confusion about font technologies in recent --- 154,158 ---- other) section. ! *-[Quote]-----------------------------------------------------------* There has been a lot of confusion about font technologies in recent *************** *** 170,181 **** data encryption. The decryption is provided by the `eexec' (encrypted execute) PostScript operator and, until recently, was only present in ! Adobe's licensed PostScript. ! ! Adobe has published the details of the Type 1 font format in the `Black ! Book', Adobe Type 1 Font Format (version 1.1), Adobe Systems Inc., 1990. ! The encryption was mainly used because of font copyright problems; ! unencrypted fonts can also be used, but these tend to use an efficient ! binary encoding, also in documented the Type 1 book, and so are still not ! readable PostScript. Type 1, Type 3, and Type 5 font formats --- 166,190 ---- data encryption. The decryption is provided by the `eexec' (encrypted execute) PostScript operator and, until recently, was only present in ! Adobe's licensed PostScript. Recently, RIPS reverse-engineered the ! eexec operator and now provides it to its licensees. Other clone ! vendors are sure to follow. ! ! It is important to note that the eexec operator can be used to ! decrypt and execute any valid PostScript statement. Therefore, any ! PostScript program or program fragment may be encrypted so it will ! work with eexec operator. ! ! You will further note that eexec is not tied to fonts in any way. ! While eexec is mostly used to protect font data, it can be used to ! protect any PostScript code. It just so happens that Adobe's favorite ! thing to protect is font data. The eexec operator is also used to ! hide the methods for applying patches to the PostScript system and ! methods for gaining privileged access to protected procedures. ! ! There is no gain in speed by encryption. In fact, there is a slight ! speed penalty resulting from decryption. The encrypted data is also ! twice as big as unencrypted data. This is compensated for in Adobe ! fonts by storing the hexadecimal characters (cipher text) as binary ! on the host disk. Type 1, Type 3, and Type 5 font formats *************** *** 194,200 **** anything a Type 1 font can do a Type 3 font can also do. - [Ed note: the reverse is not true. Type3 fonts can do things that - Type1 fonts cannot. But they aren't hinted...] - When PostScript is asked to generate a character, PostScript looks in the font's dictionary for FontType. If FontType is 1 or 5 PostScript --- 203,206 ---- *************** *** 209,215 **** different BuildChar routines. ! [Ed note: relative hard disk efficiency of Kingsley vs. Adobe fonts ! deleted on 12/07/92] ! Type 5 fonts are special in that they often include hand-tuned bitmaps for the commonly used sizes, such as 10- and 12-point. Other --- 215,233 ---- different BuildChar routines. ! The font data for Adobe's Type 1 font format is a binary ! representation of the outline font data. Kingsley/ATF also uses a ! binary representation of its Type 3 outline font data and stores the ! binary code as binary on the host disk. Both company's binary ! representation and store technique substantially reduces the storage ! requirements on the host and in the printer. ! ! Other vendors, such as Altsys and Bitstream, also use a binary ! encoding system for their Type 3 outline font data. However the data ! is stored on the host as hexadecimal text characters and requires ! about double the storage as the binary storage technique. It should ! be noted that a compact text encoding (an alternate Altsys format) ! requires two to three times as much storage space as the binary ! storage technique. ! Type 5 fonts are special in that they often include hand-tuned bitmaps for the commonly used sizes, such as 10- and 12-point. Other *************** *** 216,222 **** sizes are generated from the outlines in normal fashion. ! Don't confuse Type 1, Type 3, and Type 5 fonts with Bitstream's Type A, ! Type B, Type C, and Type F. They are not the same and serve only to confuse ! the issue. Resolution `hints' --- 234,244 ---- sizes are generated from the outlines in normal fashion. ! Type 3 fonts can also be used to implement other font outline ! systems, such as Sun's F3 and Apple's B-spline. Type 1 and Type 5 ! fonts can only be used with the Adobe font format. ! ! Also, don't confuse Type 1, Type 3, and Type 5 fonts with Bitstream's ! Type A, Type B, Type C, and Type F. They are not the same and serve ! only to confuse the issue. Resolution `hints' *************** *** 244,250 **** character no matter how coarse the grid is. ! [Ed note: deleted some paragraphs that are no longer true. Times change...] ! Optical Scaling Optical Scaling modifies the relative shape of a character to --- 266,309 ---- character no matter how coarse the grid is. ! Adobe's hinting system relies on regularizing (equalization) and ! straightening out the original character outline as much as possible ! when the font is created. Unfortunately this process of modifying the ! original font outlines for the sake of low resolution can badly ! distort the character from its original design. These distortions are ! visible when printing at high resolution. This system also places ! limitations on the placement of end points in the outline, again for ! the sake of the hinting system. ! ! The new Fontographer hinting system (a subset of Nimbus-Q) places ! similar restrictions on the character outline. for instance, to make ! proper use of the hints, a character must be (re)drawn with curve end ! points at curve maximum/minimum X/Y extents. In order for strokes to ! be equalized to the same widths, they must be (re)drawn with exactly ! the same widths. Again, the shape of the character is ruled by the ! limitations of the hinting system. ! ! The hinting system used by Kingsley/ATF in ATF Type Designer I* is ! fundamentally different. It does not require special placement of ! curve and end points in order to function. It also does not require ! modification of the original font outline to aid in grid fitting or ! stroke equalization. Once the outline has been created to the ! artist's satisfaction the hints for stroke equalization and grid ! fitting are added without any modification to the character outline. ! The net effect is that the Kingsley/ATF system does not sacrifice ! high-resolution quality while achieving low-resolution quality. ! ! Character fill algorithms ! ! The fill algorithm in PostScript tends to turn on too many pixels and ! make a character fatter and wider by one or two pixels. This is ! especially obvious in small sizes at low resolutions. Both Adobe and ! Kingsley/ATF compensate for this, thus keeping characters to proper ! thickness. ! ! Other type vendors do not currently compensate for the fill algorithm ! and thus end up with undesirably heavy characters, which is ! particularly noticeable at small sizes. ! Optical Scaling* Optical Scaling modifies the relative shape of a character to *************** *** 254,258 **** and interline spacing should increase. Conversely, as a character gets larger, the relative thickness, widths, and spacing should ! decrease. Contrast this with linear scaling, in which all parts of a character --- 313,317 ---- and interline spacing should increase. Conversely, as a character gets larger, the relative thickness, widths, and spacing should ! decrease. Optical Scaling is used by Kingsley/ATF. Contrast this with linear scaling, in which all parts of a character *************** *** 259,263 **** get larger or smaller at the same rate, making large characters look wide and heavy (strokes are too thick, serifs are too big) while ! small characters look thin and weak. Kerning --- 318,327 ---- get larger or smaller at the same rate, making large characters look wide and heavy (strokes are too thick, serifs are too big) while ! small characters look thin and weak. Linear scaling is used by Adobe, ! Altsys, Bitstream, and all other typeface manufacturers. ! ! The difference between linear scaling and Optical Scaling are clear, ! a difference even the untrained eye can see. The difference is ! particularly easy to see at high resolutions. Kerning *************** *** 269,272 **** --- 333,350 ---- However, it may also be used to add space. + How many kern pairs do you need? The answer depends on how well + regular character spacing has been set and on the typeface itself. + The better the default letterspacing has been set, the fewer kerning + pairs are needed. In fact, an excessive number of kern pairs may be + the artifact of a poor letterspacing job. + + The typeface itself has a lot to do with which characters may benefit + from kerning. Just because one typeface has a kern pair does not mean + the text typeface will need kerning for the same pair. Different + typeface designs have very different kerning requirements. + + The moral to the story is: The number of kerning pairs is not a good + quality indicator. + PostScript clones *************** *** 273,296 **** There are currently several printer manufacturers on the market with PostScript clones. To be viable, a PostScript clone must comply with ! the `red book' (PS Language Reference Manual). - In order to avoid paying royalties to Adobe, and because Adobe's Type 1 - font format was originally preprietary, many PostScript interpreters use - some other font format. Sun uses F3, and some other vendors use - Bitstream's Speedo format, for example. The only real problem this causes - is that the widths of characters (the `font matrics') may vary from - Adobe's, so that programs that assume the Adobe character widths will - produce poor quality output. Bitstream fonts used to be particularly bad - in the early days, but they and most or all of the other vendors have - solved those problems. - - Apple TrueType [Ed note: formerly "Royal (`sfnt')"] format and System 7 - - Apple's new System 7.0 supports a new format of outline font that will - allow high-quality characters of any size to be displayed on the screen. - TrueType stores font outlines as B-spline curves along with programmed - resolution hints. B-spline curves are faster to compute and easier to - manipulate than the Bezier curves used in PostScript. - Adobe is not going to support Apple's new format by converting the Adobe/Linotype library to B-spline format. There are two reasons for --- 351,391 ---- There are currently several printer manufacturers on the market with PostScript clones. To be viable, a PostScript clone must comply with ! the `red book' (PS Language Reference Manual). The main problem the ! clones have is with fonts. Much of the font (and copy-protection) ! technology Adobe uses is undocumented. ! ! The eexec operator is not defined and Adobe protects its operations ! as a trade secret. Without the eexec operator Adobe fonts cannot be ! decrypted. There are many other operators like eexec, such as the ! internal BuildChar routine, that are required for proper operation of ! Adobe fonts, and these operators are also held as trade secrets. ! Without these operators, the Adobe font data cannot be interpreted. ! ! The clone problem can be approached from two directions. RIPS, a ! PostScript clone manufacturer, has reverse-engineered the eexec and ! other operators (including BuildChar and friends) and now sells a ! PostScript clone that is Adobe-compatible in all respects needed for ! proper interpretation of Adobe font data (Type 1 encrypted). Other ! companies are sure to follow. This is only important to users who ! have purchased or desire to purchase the Adobe/Linotype font library.