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`Presenting
`MAGIC CAP"
`
`A Guide to General Magic’s
`Revolutionary Communicator Software
`
`Barbara Knaster
`
`A
`vv
`
`Addison-Wesley Publishing Company
`Reading, Massachusetts * Menlo Park, California
`New York ¢ Don Mills, Ontario * Wokingham, England
`Amsterdam * Bonn ¢ Sydney ¢ Singapore * Tokyo
`Madrid ¢ San Juan * Paris * Seoul * Milan
`Mexico City © Taipei
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`distinguish their products are claimed as trademarks.Where those
`designations appear in this book, and Addison-Wesley was aware
`of a trademark claim, the designations have been printed in initial
`capital letters or all capital letters.
`
`The author and publishers have taken care in preparation of this
`book, but make no expressed or implied warranty of any kind and
`assume no responsibility for errors or omissions. Noliability is
`assumed for incidental or consequential damages in connection
`with or arising out of the use of the information or programs
`contained herein.
`
`LibraryofCongress Cataloging-in-Publication“R
`|
`Knaster, Barbara.
`Presenting Magic Cap : a guide to General Magic’s Vo
`revolutionary communicator software / Barbara Knaster. ybwi
`
`A
`a
`COMEGlnges
`index
`' A
`§mmu nications software. 2. Magic cap.
`af 1994
`<£69—dc20
`
`I. Title.
`93-46018
`CIP
`
`Gopyright © 1994 by Barbara Knaster
`
`All rights reserved. No part of this publication may be reproduced,
`stored in a retrieval system, or transmitted, in any form or by any
`means, electronic, mechanical, photocopying,recording,or otherwise,
`without the prior written permission of the publisher. Printed in
`the United States of America. Published simultaneously in Canada.
`
`Sponsoring Editor: Martha Steffen
`Project Manager: Joanne Clapp Fullagar
`Production Coordinators: Vicki Hochstedler * Gail McDonald
`Jordan
`Cover design: Grand Design/Boston
`Set in 11 point Serifa Light by Total Concept Associates
`
`12345678 9-ARM-9897969594
`First printing, February 1994
`
`Addison-Wesley books are available for bulk purchases by corporations,
`institutions, and other organizations. For more information please
`contact the Corporate, Governmentand Special Sales Department
`at (800) 238-9682.
`
`Page 3 of 272
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`Contents
`
`
`
`Preface: About Magic Cap
`
`Acknowledgments
`Getting Started
`
`Chapter1
`
`Chapter 2
`
`Electronic Mail
`
`Chapter3
`
`General Features
`
`Chapter 4
`
`Datebook
`
`Chapter 5
`
`Name Cards
`
`Chapter6
`
`Phone
`
`Chapter 7
`
`Notebook
`
`Chapter 8
`
`File Cabinet
`
`Chapter 9
`
`Other Features
`
`Chapter 10
`
`Construction
`
`Index
`
`Vv
`
`xvi
`1
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`19
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`59
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`77
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`113
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`141
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`159
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`185
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`211
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`233
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`249
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`ase
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`For my boys,
`Scott and Jess
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`Preface
`@ About Magic Cap
`
`Why Me?
`
`I don’t love technology. I don’t hate it either, but I
`don't welcomeit into mylife unless I can figure out how
`it will make me happier or moreefficient. I think of this as
`being very practical, but sinceIlive in Silicon Valley,
`somepeople consider me almost primitive for having this
`attitude.
`.
`WhenI first heard about General Magic’s dream of
`creating a personal communicator, I was impressed by
`the team of programming anduserinterface legends who
`had been assembled to build this portable box that kept
`you in touchall the time. At the sametime, I wondered
`why most people would wantoneof these things. These
`communicators were going to let you send messagesto
`anyone from anywhere, and they were going to be as
`easy to use as a telephone. Well, I already had a tele-
`phone, and I sometimes foundit more intrusive than in-
`dispensable.
`A personal communicator would also be an electronic
`datebook and notepad. There were plenty of electronic
`organizers already; would this one be just another expen-
`sive toy? I seemed to have notroubleatall being skepti-
`cal, wondering whether this idea of “reinventing tele-
`phony” would have much of an impactin the real world
`outside Silicon Valley, even with the impressive track
`record of the wizards at General Magic.
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`Of course, the list of companies that helped get
`General Magic rolling (Sony, Motorola, and Apple) and
`the others whojoined along the way (AT&T,Philips, and
`Matsushita) addeda lot to this tiny start-up company’s
`credibility. Eventually, I became a guinea pig in official
`tests of the software in General Magic's lab and unoffi-
`cial tests at home, courtesy of my husband, who joined
`the team as employee number14. As the communicator
`shaped up,I startedto seefor thefirst time how it might
`fit into mylife.
`Lalso became intrigued by the powerful culture of this
`unique company: dedicated workaholics collaborated with
`engineers who had families, sharing an almost fanatical
`need to make magic. Watchingthis culture work to make
`practical tools helped convert my skepticism into enthu-
`siasm. General Magic’s dreams developed into twosoft-
`ware platforms: Magic Cap and Telescript.
`
`Origins of General Magic
`The original idea for personal communicators
`sprouted in Apple's Advanced Technology Group. A re-
`search group led by Marc Porat observed three central
`trends that showed how people spent their work and
`personal time. First was the need to communicate easily
`and conveniently——with co-workers in the sameoffice,
`with a spouse runningerrands, with clients in other parts
`of the world. Second, people increasingly require infor-
`mation on demand—stock quotes, movie schedules, how
`the home team fared. The third trend was remembering
`all this information-—who to meet, where to be, when to
`be there. Porat also proposed the theory that people don't
`always clearly separate the personal and business parts
`of their day, which is the root of what he calls whole
`person thinking.
`
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`Creating a product for this model was the challenge.
`The code name Paradigm was chosenfor the project (you
`can’t do anything in Silicon Valley without a code name).
`When Apple realized that it couldn't devote enough re-
`sources to the Paradigm project, General Magic wascre-
`ated in 1990. The founders of the company were Marc
`Porat, the visionary who nurtured the ideas and putto-
`gether the astonishingalliance of consumer electronics
`manufacturers and communications giants; Bill Atkinson,
`the legendary programmer and user interface designer
`who created HyperCard and the original graphics soft-
`ware in the Macintosh; and Andy Hertzfeld, the software
`wizard who programmed muchof the original Macintosh.
`In subsequent years, many talented programmers and
`designers who workedon other successful products joined
`General Magic to form a world-class engineering group.
`
`It's the Communication
`
`The whole idea of Magic Cap is communication. A
`personal organizer is cool, but it’s been done. An elec-
`tronic datebook and address book combination is really
`useful, but it’s not necessarily more special than its pa-
`per counterpart. Electronic mail and information services
`aren't just trendy, last-minute additions to Magic Cap;
`from the beginning of the project, everything in Magic
`Cap was designed around the idea of enabling people to
`communicate powerfully and easily.
`When you turn on a Magic Cap communicator, you
`see a picture of a desk,laid out to simulate the way people
`work(see Figure P-1). There’s a telephone, a datebook,a
`file for names and addresses, a notebookfor writing and
`drawing. But right in the middle of the desk is a postcard
`and pencil, a subtle reminder of what Magic Capis all
`
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`about. The in box and out box are also located in the
`center of the communicator’s screen, their prominent
`positions drawing your eyes and attention.
`
`@) Desk
`
`Thursday, January 6 11:30am.
`
`[= Hallway
`
`—_ a
`
`
`‘i o
`;
`FIGURE P-1. The Magic Cap desk
`
`Placing the postcard and other kinds of stationery in
`the desk drawer, Magic Cap encourages you to use elec-
`tronic mail for every purpose: businessletters to prospec-
`tive clients, personal notes to your mom, invitations to
`meetings, birthday greetings to a friend in anotherstate,
`and electronic orders for goods and services. You can use
`Magic Cap's electronic communication for many of the
`things you’re used to doing with your telephoneor postal
`service.
`Every Magic Cap device is truly a communicator and
`not a message pad, an organizer, or a personal digital
`assistant. Every Magic Cap communicator comes ready
`to connect to a telephoneline: there’s a modem built in.
`Somealso include two-way radios for wireless communi-
`
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`cation, but at the least, every Magic Cap communicator
`is only a standard telephone jack away from connecting
`you to the world of electronic networks.
`Your communicator does a great job of replacing your
`address book, but it has another purpose for the names
`and addresses it knows: It can help you send messages
`to the people and companiesit lists. Magic Cap also simu-
`lates your appointment book; and you can use it to con-
`tact the participants in your meetings to invite them to
`attend. Because Magic Cap’s smart communication fea-
`tures connect you to the world outside, you can actually
`tell a news service what kindsofstories you're interested
`in, and those stories will be culled automatically and de-
`livered for you to read at your convenience. Information
`providers may someday offer news, up-to-the-minute
`sports scores, movie and television schedules, road di-
`rections for many majorcities, andlots of other services
`that somebody somewhereis dreaming upright now. It’s
`like a home shopping networkin the palm of your hand.
`
`It's for Everybody
`The engineers and interface designers at General
`Magic worked hard to make Magic Cap very easy to use.
`They wanted to make a consumer electronics product,
`not a computer, and so it had to be far easier to use than
`the simplest personal computer. There arelots of things
`that personal computers do very well, including keeping
`track of big chunks of data, publishing documents, and
`crunching numbers. Even though Magic Cap can handle
`someof those things, it was born to communicate.
`Sending messages using AT&T's new PersonaLink
`service or conventional electronic mail and fax is intu-
`itively simple with a communicator. Receiving mail is
`
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`also easy——a matter of simply connecting and collecting.
`Because Magic Cap communicators are electronics prod-
`ucts designed for general consumeruse, they may not be
`as powerful as many personal computers, but they are
`certainly more friendly.
`Magic Cap’s designers conducted scores of user tests
`to refine the way it works. Features that were confusing
`to novice users were tweaked or simplified. For example,
`at one time users could move objects around on the desk
`just by sliding them. This was disconcerting to people
`whodidn’t have computer experience—theyjust wanted
`to open the datebook, but it kept scooting away instead.
`The designers made a trade-off: Users had to enter an
`explicit mode to be able to slide the permanent features
`on their desks, so savvy users could redecorate, but be-
`ginners wouldn't be startled by something happening
`unexpectedly.
`Computer veterans and other knowledgeable users had
`suggestions for ways to increase power, and many of
`those suggestions were added to Magic Cap, but never
`at the expenseoffriendliness. Magic Cap’s inventors in-
`cluded manyfeatures that makeit easier for powerusers,
`but those features are designedto stay out of the way of
`beginners.
`Magic Cap’s navigation system is an example of the
`designers’ focus on simplicity. It lets users work with a
`desk, rooms in a hallway, and a downtown street. Novice
`users inevitably love Magic Cap’s navigation, and pun-
`dits often criticize its appearance as too simplistic and
`playful. Many experts also criticized the friendly, playful
`Macintosh interface when it appeared in 1984. Now,of
`course, most personal computer users work with win-
`dows, icons, menus, and other elements that were dis-
`paraged on the first Macintosh. We'll have to wait and
`see what the eventual responseis to Magic Cap’s inter-
`face,
`
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`Designers of products that are supposed to be easy to
`use often talk about whether “your parents” could useit.
`Magic Cap may not be as easy as a telephone, but it’s
`designed so that most parents could quickly figure out
`how to use it to send a messageto their children asking
`whythey never write anymore.
`
`Telescript Inside
`Magic Cap integrates manytools that people use to
`communicate for work and play. At the coreof this plat-
`form is Telescript, a communication-oriented program-
`ming language also developed by General Magic. There
`are several elements in the communication heart of
`Telescript. Foremost is its smart-messaging capability.
`As the foundation for sending and receiving electronic
`mail, Telescript actually turns each messageinto an agent,
`or independent program, that can carry personalized in-
`formation withit.
`Because each messageis really a Telescript program,
`these “smart messages” can perform functions besides
`just expressing your words.
`If you use your
`communicator’s datebook to schedule a meeting with
`your colleague Tony, you can also automatically create
`an invitation for him to attend the meeting, send it to
`him, and then have the message complete a series of
`reactions based upon his response; he can useit to cre-
`ate and deliver his acceptance or regrets, and even sched-
`ule the meeting in his datebook.
`Telescript messagestravel in “smart envelopes,” which
`are Telescript programs that include a way to tell the
`message howto deliveritself. An electronic mail network
`based on Telescript can let youtell the message to wait
`in Tony's mailbox until 5P.M., and if he doesn't pick it up
`by then,to fax it to him at home. The mailboxes that the
`
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`message passes through are also Telescript programs,
`meaning that they’re also smart and can carry personal
`preferences.
`Using a Telescript-based network, you can stamp your
`message to Tony as urgent. Meanwhile, because his
`mailbox is also a Telescript program, he has instructedit
`to let him know immediately when he receives an urgent
`message. A conventional electronic mail system mayalso
`have someof these “smart” features, but if they weren't
`built into the original engineering, it would be impos-
`sible for users to add them later. If a Telescript system
`needs to add features, users of the mail system can add
`and revise them.
`As more Telescript-based systems are created, they'll
`help extend the power of Magic Cap. A smart network
`would provide a handy way to interact with a store that
`has an electronic location downtown. If you wanted to
`send flowers to your Aunt Dorothy, you could visit the
`flower store downtown, then send a messageto theflo-
`tist that you wanted a bouquetof flowers for $35 to be
`delivered today in Kansas. Your order could automati-
`- cally attach your namefor billing and your aunt’s name
`and address for delivery information. The flower shop's
`mailbox could have special rules set up for receiving such
`orders that would expedite having the flowers delivered
`in time for her birthday. So far, Magic Cap's engineers
`haven't figured out how to have the flowers themselves
`come through a communicator, but just wait.
`
`Families of Products
`
`There are several different models of Magic Cap com-
`municators from different manufacturers, and each one
`provides ways to communicate. Some Magic Cap com-
`municators need to be pluggedinto a phoneline; others
`
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`take advantageof wireless transmission via radio waves.
`There may be additional optionslike telephone handsets
`that plug into your communicator or cellular phonesthat
`can be added. Every oneof these, though, has one thing
`in common: Magic Cap. Communicationa la Magic Cap
`is the foundation; your distinctive model of communica-
`tor provides the access.
`
`Design Goals
`General Magic engineers worked together with their
`alliance partners in designing various models of commu-
`nicators that had to meet important goals. Communica-
`tors have to be small enough to be carried aroundall the
`time and easy enoughfor peopleto figure them out with-
`out hours of study. Magic Cap’s designers compensated
`for small screen size by making items look simple and
`easily touchable. Performing various tasks in Magic Cap
`igs intuitive and easy: touch the screen to activate items
`on a desk, go into a hallway of rooms filled with other
`features, or go to a downtown street with buildings rep-
`resenting remote services.
`The immaturity of touch-screen technology provides
`another design challenge. Screens of current models are
`often difficult to see, another reason that the desk items
`are spaced far apart and well defined. Becauseit’s hard
`to touch an exact point, Magic Cap allowsfor an impre-
`cise touch to act precisely.
`Magic Cap uses an on-screen keyboard as its main
`sourceof input; its interface doesn't require handwriting
`recognition. Because an on-screen keyboard is unwieldy,
`Magic Cap includesa large set of features to speed up
`typing. These features include trying to automatically
`complete words in well-known categories (names,cities,
`states, and so on), automatically guessing whether to
`
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`shift the keyboard to uppercase, and cross-referencing
`information (for example, learning which cities match
`which ZIP codes). Magic Cap interprets handwriting as
`ink and doesn't try to translate it into text.
`
`Magic CapIs for Communication
`
`Magic Capis a software platform designed specifi-
`cally for communication, as shown in this classic mes-
`sage that helped inspire the Magic Cap team.In the spring
`of 1990, Bill Atkinson received this electronic postcard
`from his young daughter, Laura, who used an early soft-
`ware prototype to convey her thoughts simply and cre-
`atively, and her dad wasable to read and enjoy her mes-
`sage at his convenience (see Figure P-2). This is what
`Magic Cap does best: personal communication.
`
`dear bill, i think pest cards &
`peradime wt! bee gerat & lots of
`pepol wil woos it i am looking
`|
`foerd too wen it wil beadonei
`can pitcher in mi mind a poersin |
`walking along with oneof this
`things & then all of a sadin al!
`got a post card
`
`i
`
`
`
`te; Bi Atkinson
`frew: Laura Atkinson
`heat: post cardswn
`
`FIGURE P-2.
`
`“A! 1 gota postcard”
`
`xiv
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`
`
`About This Book
`
`By the time you read this book, you may already
`have a Magic Cap communicator, or not. You don’t need
`to have a communicator for the book to be useful. If you
`have one, you can use this book as a complementary
`tutorial, and you might use the examples as a spring-
`board for your own ideas.If you don’t have a communica-
`tor yet, this book shows what Magic Cap can do and how
`you might be able to useit.
`This book explains the concepts of Magic Cap and
`shows somepractical examples of its use. Many of the
`scenarios are completely realistic and can be accom-
`plished with the first Magic Cap communicators. You
`may find yourself using your communicator in exactly
`the same way,with only the names changed. Someother
`examples show how Magic Cap might develop over time,
`a kind of wishful thinking that could happen if communi-
`cators become popular. This book is pretty specific in
`stating what Magic Cap can do now, and whatit might
`do in the future.
`Magic Cap software was substantially done before this
`book was written, but some small details may have
`changed since then.
`
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`Acknowledgments
`
`
`
`I didn’t realize how many people werevitally impor-
`tant in publishing a book until I wrote one.
`Everyone I worked with at Addison-Wesley was won-
`derful, even the people I never met who were responsible
`for the cover and art design. Martha Steffen was extremely
`helpful in explaining the publishing process, negotiating
`a breakneck schedule, suggesting ways to improve the
`manuscript, and calming down a nervous author. Every
`author should have an editor like Martha.
`Joanne Clapp Fullagar managedall the production de-
`tails so smoothly and completely from both coasts that
`the schedule seemed hectic but not impossible. I really
`appreciated her encouragement and suggestions.
`Keith Wollman and Steve Stansel took a chance on
`publishing a book by an unproven writer about software
`still being written.
`Tema Goodwin provided thorough and thoughtful
`copyediting that considerably improved the book.
`Bill Fallon and Bob Garnet from AT&T reviewed parts
`of the manuscript, offering their suggestions and insight.
`The folks at General Magic were encouraging and help-
`ful. Curtis Sasaki and Jane Anderson helped get the
`project started, and Joanna Hoffman gave continuing
`support. Along with Curtis, Lynn Franklin, Susan Ray],
`Terry Moody, Kevin Lynch, and John Sullivan also re-
`viewed the manuscript to make sure I got things right.
`
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`David Hendler, a mostliterate writer, is also reviewing
`the book.
`Bill Atkinson and Laura Atkinson gave me permission
`to reprint the wonderful postcard Laura sent to her dad.
`Bill also let me borrow his extensive collection of post-
`cards sent and received in early 1990 to give me an ex-
`cellent perspective on the evolution of Magic Cap.
`The Magic Cap engineers offered their encouragement,
`and I thank them for answeringall of my questions about
`how things worked (or didn’t) and why they worked that
`way(or didn’t). 1 am grateful to them for letting me share
`the magic.
`My family, as always, was very supportive. Helen
`Schulman kepttelling me that she always knew I would
`write a book someday, and I'm glad I could prove her
`right. Thanks, Mom.
`‘
`Gene Schulman kept asking how the book was com-
`ing while he reminded meto take care of myself, and I
`know heis a very proudfather right now. Thanks, Dad.
`Louis and Jennifer Schulman camefor a visit right in
`the middle of this frenzy. That weekend helped me keep
`my sanity.
`Jess Knaster was very understanding about not get-
`ting to go anywhere for several weekends in a row be-
`cause of “Mom’s book.” He waited as patiently as an
`eight-year-old can wait for his parents to take a break
`from work to play with him. He even let me use him in
`some examples in the book. Thanks, Jess. You're a great
`kid.
`Scott Knaster was (andstill is) my inspiration. He was
`the technical reviewer of this book, and he helped create
`
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`all the figures. He was also the source of the General
`Magic anecdotes. He micro-scheduled every page sc this
`book could be finished in an amazingly short time, and
`he worked beside me on many late nights making this
`bookbetter. He told me I could do it and then helped me
`actually doit. I'm so lucky to be married to my bestfriend.
`
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`Chapter
`*, Getting Started
`
`The First Time
`
`You're probably interested in personal communica-
`tors because you've always been oneof the first to get
`your hands on the newest technology—theindustrycalls
`you an early adopter, or a heat-seeker. Maybe your boss
`suggested that using one while you're traveling is good
`business, or you have an incredibly understanding spouse
`who boughtyou onefor your birthday. On the other hand,
`maybe you haven't decided to take the plunge yet, but
`you want to know whatit feels like to have one. Whatever
`the circumstance, you’ve joined the brave new world of
`personal communicators.
`Thefirst few minutes with a communicator are among
`the most important in your relationship, kind oflike the
`experience between nervousjob applicant and thorough
`interviewer. When you take it out of the box and start
`using it, you should feel good about the experience, not
`uncomfortable. You shouldn't feel overwhelmed by in-
`comprehensible setup proceduresorthree different thick
`manuals, each of which says “read mefirst.” General
`Magic andits alliance partners worked hard to make your
`beginning experiences pleasant, friendly, and reassur-
`ing. In this chapter, we’ll go through the process of un-
`packing and setting up anew Magic Cap communicator.
`
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`Basics
`
`Although Magic Cap communicators come in vari-
`ous models from several different manufacturers, theyall
`have many features in common. Most importantis that
`all Magic Cap communicators are operated by touching
`pictures of objects on the screen. You don't haveto use
`lots of different gestures when touching the screen to
`make things happen. There are really just two actions
`you have to learn: touch andslide. To touch, just place
`your finger or stylus on an object, and then let go. To
`slide, touch any object and moveit along the screen,asif
`you weresliding it aside. Everything in Magic Cap oper-
`ates with those two actions.
`.
`To help you figure out what you're doing, Magic Cap
`createsa little world inside your communicator. This world
`is filled with familiar objects, such as a desk,a telephone,
`a datebook,an in box, and a clock. To learn to use Magic
`Cap, you start with what you already know about work-
`ing with these and other familiar objects.
`When you look at a Magic Cap communicator, you'll
`see that it comes with just one physical key, labeled op-
`tion. If you hold down the option key while touchingcer-
`tain objects on the screen, you can make an alternate or
`advanced action take place. These optional movements
`are often used to take advantageof shortcuts for actions—
`they’re never used for common or required functions.
`Every Magic Cap communicator has a jack where you
`can plug in a telephoneline. This is how you'll use your
`communicator to send andreceive electronic mail, make
`phone calls, and send faxes. Some communicators also
`have built-in two-way data radios for sending and receiv-
`ing information without having to connect a phoneline.
`
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`Page 21 of 272
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`
`
`Getting Started
`
`Your first step should be installing the batteries in
`your communicator. Putting them in at the factory would
`drain some of their power during shipping and shelf time,
`so you get to havefresh batteries by installing them your-
`self. Every communicator has at least three sources of
`power: a main battery, a-backup battery, and a wall
`adapter. Poweris vitally important to your communica-
`tor—if it ever loses power completely, it will lose the in-
`formation you entered! Magic Cap has an elaborate warn-
`ing system to tell you when your main and backup bat-
`teries are running down.
`Once you've installed the batteries, the next step is to
`turn on your communicator. The first images you'll see
`are the logo of the manufacturer and the Magic Cap rab-
`bit-in-the-hat logo, and the provocative instruction to
`Touch the screen to begin. Your first action will be to
`teach the communicator about how hard your touchis
`and to fine-tune the screen's alignment. Magic Cap puts
`a bull’s-eye target in the upper-left corner and asks you
`to touch it. When you touch it, the communicator’s
`speaker sounds an approving pop and the target hops
`around to two other locations on the screen, calibrating
`your touch so that it will be more responsivetoit.
`While you're aligning the touch screen by tapping the
`targets, you're subtly experiencing three of the key ele-
`ments of using Magic Cap. First, almost everythingis
`accomplished by touching pictures you see on the screen.
`Second, when something changes its location on the
`screen, you'll usually see animation that makes it move
`rather than just having to figure out that it’s gone from
`one place to another. This animation reinforces what
`you're seeing so that you're not surprised whenthe item
`appears in a new location.
`
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`
`Page 22 of 272
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`
`
`Third, the targets make a popping sound when you
`touch them. In Magic Cap, most actions make sounds.
`As you get familiar with Magic Cap, these sounds will
`become reassuring and will help you confirm your ac-
`tions. Of course, if you find the sounds annoying or you
`don't want to disturb people nearby, you can change
`them or turn them off completely.
`
`
`es Justa Touch. Magic Cap communicators come with a
`stylus, a sort of pen with no ink, but Magic Cap’s hard-
`ware and software were designed to let you use your
`finger if you prefer. The stylus is required for only two
`functions: the alignment targets, since they need to be.
`touched as precisely as possible to set the screen, and
`for handwriting, which is really tough to do well with
`your finger. You can do everything else with a stylus or
`your finger.
`Magic Cap tries to be generous in deciding where you
`can touch things to activate them. Some items have an
`invisible halo around them so you can actually miss them
`by just a little when you use your fingertip to touch or
`slide. Some items require more precision, such as when
`you're typing on the keyboard; you can use your finger-
`nail to get a better shot at them. As you use your commu-
`nicator, you'll have a better idea of whether you wantto
`use your finger or a stylus.
`Magic Cap’s manuals and information windowsuse
`twodifferent words, tap and touch, to describe the
`action of placing your finger on an item on the screen
`and then removing your finger. Although tap is more
`appropriate for a button and touchis often used with
`other kinds of objects, the terms are completely inter-
`changeable, and this book followssuit.nnTTLINETTTETT,
`
`Page 23 of 272
`
`Page 23 of 272
`
`
`
`After you finish target practice, you get yourfirst look
`at the desk and you see yourfirst information window,as
`shown in Figure 1-1. The window suggests that you touch
`its Getting Started button to set up your communicator,
`but if you're not ready for that, you can touch the x in the
`upper-right corner of the window to close it and post-
`pone the Getting Started stuff.
`
`Magic Cap™ 1.0
`
`Getting Started.
`
`Touch the @ in the upper-left corner of the
`screen to show or hide messages like this one.
`
`To personalize
`now, touch
`
`FIGURE 1-1. The desk with its information window open
`
`You can always go back to Getting Started when you're
`ready by touching thecircled question mark next to the
`word Desk in the upper-left corner of the screen, then
`tapping Getting Started in the window that appears. In
`fact, you can get information about any screen or win-
`dow by touching that circled question mark.It’s a good
`idea to run through Getting Started as thefirst thing you
`do with your new communicator.
`There are three kinds of actions in the Getting Started
`process. First, there are vital setup tasks you must do to
`personalize your communicator before you can do almost
`
`Page 24 of 272
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`Page 24 of 272
`
`
`
`anything useful. The second kind are actions that you
`should do before proceeding but that aren't absolutely
`required. Third, there are instructive lessons that teach
`skills you might pick up on your own as you're using
`Magic Cap but that help cut down on any apprehension
`you might feel when you begin.
`
`Starting the Lessons
`
`There are two things you must do to personalize
`your communicator before getting much of anything done:
`You haveto tell it who you are and where you are. Get-
`ting Started provides lessons that help you enter this
`important information. When you enter your name and
`location, it’s important to recognize that these are not
`just practice examples; the information you give is saved
`and should betherealstuff.
`What happensif you try to skip ahead and avoid enter-
`ing your nameor location before continuing? Many func-
`tions work fine whether they know your nameor not: You
`can use the calculator, write in the notebook, or play a
`game withoutfilling in your name.If you try to write a
`message, though, Magic Cap will gently remind you to
`enter your namefirst (it even says please).
`
`
`es Doing the Time Warp. During Magic Cap’stesting,
`many users thought that Getting Started was just a
`teaching tour of Magic Cap that let them practice doing
`things, not realizing that setup information entered there
`was very real. This led to lots of communicators being
`set up by people named Frank N. Furter and Bugs Bunny.
`Be sure to type the real information when you go through
`Getting Started.
`
`Page 25 of 272
`
`Page 25 of 272
`
`
`
`If you touch Getting Started, instructions will lead you
`into the hallway, then downto the library where the Get-
`ting Started book waits for you. You'll be directed to tap
`the Getting Started book, as pictured in Figure 1-2, and
`you'll see the opening pages of the book.
`
`
`
`FIGURE 1-2.
`
`Just about to open the Getting Started book
`
`Whenyoustart a lesson, you'll see the numberof steps
`you'll need to follow to complete the lesson, and you'll
`know many you've done so far. The steps also tell you
`exactly what you're supposed to do and why,rather t
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