Predicting which new programs might find their way to the network’s fall lineups used to be easy — just look at the current yearhs hit movies. In 1978-79, “Animal House” was the inspiration behind Coed Fever, Delta House and Brothers & Sisters.

Even though these shows didn’t last long, the trend continued. In 1982 “Raiders of the Lost Ark” inspired Bring ‘Em Back Alive and Tales of the Golden Monkey.

In the early part of the 1983-84 season, “An Officer and a Gentleman” prompted its share of knock-offs. Later in the year “Blue Thunder” was the box office hit that spawned three off-spring in the form of tv pilots.

But now, the networks have changed course. This year, the most obvious prototype for new prime time programing is other prime time fare.

In some cases, the mini-series and made-for-tv movies provide the new source. This fall, ABC will premiere Paper Dolls — a fashion industry soap complet with exploitable 14-year-old models. It’s based on the successful made-for-tv movie.

V has made it onto NBC’s prime time line-up due, in part, to its ratings success as a mini-series.

Network specials are a great testing ground for new programs. ABC’s Foul Ups and People Do the Craziest Things, as well as NBC’s TV Bloopers are extensions of successful special programing.

But most often, its an old series that begets new programing.

ABC’s Streethawk is a two-wheeled version of NBC’s Knight Rider with a little Automan thrown in. Finder of Lost Loves replaces Fantasy Island on ABC’s new schedule, but it appears only the name has changed.

Mr. Rourke is out and Cary Maxwell is in as an unusual private detective who specialies in helping his clients rediscover the lost loves in their lives. And, there’s more than one storyline allowing for plenty of guest stars.

Honolulu Run (ABC) has all the elements of a successful Hawaiian programing venture; two ex-cops, a secret mission with the plice and two beautiful women as next door neighbors — who just happen to be helicopter pilots.

There’s a striking resemblance in more than just title between a 1981 CBS pilot, Jessica Novak, and ABC’s new entry, Jessie. Jessica Novak starred Helen Shavers as a reporter whose instinctive humanity got her in and out of touchy hostage situations.

This season’s Jessie stars Lindsay Wagner (Bionic Woman) as a psychiatrist whose professional humanity lands her a job as a police hostage negotiator. Both programs even share the same time slot: Tuesdays 10-11 p.m.

Cable television was even tapped as a source for network prime time. CBS’ Dreams has a paper-thin story line about a struggling rock & roll band, but the “look” of MTV. NABC’s new adventure, Miami Vice was described as having video music overtones.

No matter who you are targeting – the snow bunny, the duffer, the health nut or the couch potato – the newer out-of-home media have found a way to corner them where they gather in great groups. In previous columns we mentioned out-of-home forms on trucks, in bars, airplanes, schools and stores. This month’s column will examine some of the media associated with sports and leisure activities.

There are two very similar forms of out-of-home in health clubs. Esquire Health and Fitness offers a 5′ x 3’6″ wall poster in over 1,300 health clubs nationally. The poster contains editorial copy of interest to club members, with room at the bottom for three noncompeting ads measuring 18″ x 12″. Category exclusivity is assured, and the broad reach is achieved by rotating copy on a quarterly basis. Minimum buy is 163 markets for 12 months.

The second health-club medium is American Health Fitness Bulletin, which offers four side-by-side ads measuring 18″ x 12″ beneath the editorial copy of a 6’6″ x 4’5″ wall poster. Once again, category exclusivity is assured and ads are displayed in all 1,100 clubs (cities) simultaneously. Minimum buy is all markets for 45 days.

If it’s the duffer you’re after, there are three forms of out-of-home available for the golf course. Two of these are located at the tee box, where they are incorporated into the sign that identifies the hole, the distance and, in many cases, provides a diagram of the terrain.

One of these, Golf Network, covers 500 courses in 18 markets offering a 36″ x 18″ sign carved into the wood face to match the tee marker. The carved face is appropriately painted with the advertiser’s message. Minimum buy is one sign per course at one course. Category exclusivity is provided when three signs per course are purchased. Similar to Golf Course Network is Golf Tee Signs, which offers smaller signs (2′ x 1′) at fewer courses (80).

Also available at the golf course is space on a 5′ x 2’6″ wall poster located in the pro shop of 1,000 courses in 48 markets. This medium is called Golf-link and similar to the health-club signs uses a format of editorial copy above three side-by-side ads measuring 18″ x 10″.

If you’re targeting a skiing enthusiast, you might want to examine the several media located at the slopes. Gardner Ski Signage features a static 1’8″ x 10′ ad panel beneath the message panel on both the front and back sides of an animated message center. All ad panels are backlighted and participation includes approximately seven minutes of electronic time every hour. A minimum two-year commitment is required and participants must subscribe to at least five units. Maximum coverage is 50 resorts.

Sitour’s ski media consist of painted ad messages above and below the information panel (snow conditions, trails open, etc.) as well as four-color posters inside the base lodge. Painted ad panels on the outdoor display measure 1.5′ x 16′ and 2′ x 7′. Posters are approximately 4′ x 3′. Coverage includes 75 resorts nationally, with a minimum buy of seven resorts.

Ski Impact Network provides a wall-mounted display featuring skiing and weather information surrounded on each side and across the top with 10 advertisements ranging in size from 10″ x 20″ (four) to 10″ x 12″ (six). Present coverage includes 100 resorts, with heaviest concentration in the East and New England. Minimum buy is 15 resorts.

Last on the list is Ski-View, which provides 2′ x 4′ posters mounted atop chair lift stanchions at 167 resorts nationally. Quoted showings range from A (100 posters) to AA (200 posters) to AAA (300 posters). The latter showing guarantees category exclusivity. SMRB studies indicate a relatively high recall for this medium.

If skiers are not your primary customer, perhaps the movie buff is, especially the guys and gals who prefer to watch them at home on their VCRs. If so, there’s a way to reach this group as well. Currently, there are two companies that sell advertising on the video rental box.

Video Ad Network offers 4″ x 6″ four-color print ads on the front, back or inside front cover in 180 markets nationwide. Minimum buy is 5,000 for three months. There can be more than one ad per box (no alcohol or tobacco), and the video-store manager decides which ads go on which boxes.

The other member of this duo is AdCorp’s Videotagg, with 4″ x 7″ four-color ads on the front of the rental box in over 100 markets nationwide. One may purcahse one market or many for a minimum three-month period.

When the moviegoer is not watching at home, the odds are he/she is hanging out at the Bijou where they chance exposure to Screen Vision ads – 60-or 90-second commercials produced especially for the theater audience and available in the top 100 markets and more. Sold in four-week flights, the minimum buy is one market, with the cost varying by the length of the commercial and the number of participating screens in the market.

On a slightly less expensive scale, there is Cinema Billboards’ low-budget approach featuring ten seconds of exposure to your 35mm slide. Available in 25 of the top 50 markets, advertisers can buy one theater or the network.

With theme music from “Star Trek” in the background, a member of the crew of the Starship Enterprise lies unconscious in sick bay. Dr. McCoy passes a hand-held instrument over the body, and a computer diagnoses the patient’s problem and recommends treatment. Science fiction? Perhaps not. This futuristic look at health care may not be too far away. In fact, in this decade of the ’90s, technological advances could well surpass the imagination of even Star Trek’s writers.

One of these machines saved my life!

Computers, new materials, microelectronics, surgical techniques, and ways to see inside a patient’s body without surgery are already in use. In the near future they could very well revolutionize diagnosis and treatment of sick earthlings.

Look Inside

If you’ve ever broken a bone, you know all about X-ray pictures of the skeleton. X-rays are one way doctors look inside patients to diagnose illness. Until recently the only other way doctors could see inside your body was to perform exploratory surgery. Today, modern science offers several new ways to see what’s happening without surgery.

One test is called a CT scan (computerized tomography), a detailed X-ray of the entire body that converts two-dimensional pictures into three-dimensional images. The CT scan is known as the “granddaddy” of modern imaging. When medical professionals saw how valuable such tests are, they encouraged the development of equipment that could provide even more information.

Magnetic resonance imaging does that. This scan–abbreviated MRI–uses a combination of radio waves, a computer, and a magnetic coil 30,000 times stronger than the earth’s magnetic field. If doctors need to see tissue hidden or surrounded by bone, an X-ray won’t help, but an MRI scan will. MRI scans help doctors diagnose an array of problems, including tumors, arthritis, and problems of tissues and organs.

More Magnetic Help

Another system that uses magnets is called magnetic resonance spectroscopy. This system uses similar technology to produce information about body chemistry. Still another use of magnets is magnetoencephalography (MEG), which measures brain activity. MEG helps doctors study patients with epilepsy, and future applications are likely to help diagnose patients with stroke, Alzheimer’s disease, and brain injury.

Nuclear medicine is already a reality that shows even more promise on the horizon. Another imaging test, called the PET scan (position emission tomography), uses a low-level radioactive chemical that is traced as it travels through the body. PET scans are used to study brain activity and are helpful in diagnosis and study of stroke, epilepsy, schizophrenia, and Parkinson’s disease. Radioactive compounds are also used for such things as bone scans and studies of lung problems.

The new tests provide enormous amounts of information. Some of the data is so new, researchers are still trying to fully understand its significance.

Light Beams

As diagnostic ability improves, doctors will have more treatment options, especially for illnesses that respond best to early care. Some of these different options include advances in the use of lasers, a method of freezing diseased cells, a treatment using heat therapy, and genetic engineering. And these are just a few examples of ways doctors will treat sick patients in the ’90s.

Surgeons have been using lasers (Light Amplification by Stimulated Emission of Radiation) since the 1970s. Lasers emit a thin beam of light that acts as a miniature blow-torch, heating and destroying whatever gets in its way. Lasers may often be used instead of scalpels to cut skin, remove growths, and unclog blood vessels. Some experts believe new kinds of laser equipment, including new optical fibers made from sapphire, zirconium, and quartz, will contribute to improved surgical techniques and greater acceptance of the laser among doctors during the next decade.

The laser most often used for medical care works with carbon dioxide, but a new kind of equipment called the free-electron laser will let doctors use other materials as the laser’s source of energy, thereby increasing the laser’s capabilities.

Improvements made possible by the free-electron laser include a technique called photodynamic therapy to kill viruses in the blood. A special dye will mark the unwanted cells, and a laser beam targeted only for the color of the dye will destroy the virus, leaving healthy cells intact.

Use of a free-electron laser will probably also include bone-cutting. Today’s carbon dioxide lasers are too hot to cut bone, but experimental use of the free-electron laser cuts bone without burning it. Other experiments seem to show that teeth may benefit from free-electron laser light that can harden enamel and prevent decay.

Hot and Cold

Laser surgery isn’t the only new surgical technique that will change health care in the 1990s. Two promising cancer treatments involve cold and heat therapies.

Researchers have found a new way to freeze cancer cells using liquid nitrogen as the cooling agent. The experimental technique is called cryosurgery and is used to treat cancer and pre-cancerous cells in the skin, urinary tract, head, neck, and cervix. An encouraging result being seen with this treatment appears to be a decreased likelihood of the cancer’s recurrence.

Heat therapy, called hyperthermia, is another new cancer treatment fast gaining acceptance. The procedure involves the use of microwaves, radio waves, or ultrasound applied to a cancerous tumor. Like food in a microwave oven, vibrating molecules in the patient’s tissue create enough heat to kill cancer cells. Although hyperthermia doesn’t work by itself, its use together with conventional surgery, radiation treatments, or drug therapy improves the effectiveness of the treatment plan.

Designer Genes

A revolutionary way to treat illness may soon be possible, thanks in part to work by the National Institutes of Health. A research team inserted a gene from bacteria into cells of a disabled virus. They then infected the cancer-fighting cells of a human cancer patient with the altered cells.

Soon scientists will experiment with the use of this kind of gene implant for treating cancer, acquired immunodeficiency syndrome (AIDS), and heart disease. For cancer and AIDS, the implanted cells will be engineered to produce large amounts of the body’s disease-fighting agents. For heart disease, the altered viruses will contain the gene for a substance that dissolves blood clots. Someday, genetic cures may be used to correct problems like cystic fibrosis, hemophilia, and Huntington’s disease.

Spare Parts

When a duel between Star Wars characters Darth Vader and Luke Skywalker resulted in the loss of Skywalker’s hand, the hero was only mildly inconvenienced until he could get a perfectly functional replacement. This is much like today’s retailer, which typically cannot live without the best pos software system that money can buy. Today’s artificial replacements for lost body parts, called prosthetic devices, don’t quite meet those standards, but they are improving. Patients in the near future will benefit from practical applications of new discoveries and inventions.

Realistic artificial arms and hands are more useful–and more attractive–than the hooks formerly used to replace missing hands. Before too long, the technology may match the system used for Skywalker’s new hand.

An experimental robot hand, for example, can turn the pages of a book, tie a shoelace, play a piano, and turn a screwdriver. The device was developed through research in bionics, a combination of biology and electronics.

Other devices already in use are agile enough to grip a golf club and play the cello. The devices are called myoelectric limbs (“myo” is the Latin word for muscle). When the artificial arm is attached, electrodes connect the person’s existing muscle to the device. When the muscle tenses in response to a signal from the brain, the muscle’s chemically produced electricity is transmitted through the electrodes to the mechanical arm, commanding the desired movement.

A new artificial leg is made from carbon-graphite with an inner metal bar. The leg lets the attached foot bend naturally, so the person who uses it walks and runs with more natural movement than older models allowed.

Ol' skool!

It’s all here, friends. It’s all here. This Internet thing was new in 1990. Check this relic:

Hypertext Origins

The simplest, and least informative, definition of hypertext is “nonsequential access to information.” Somewhat better is this: a hypertext application is a computer-based system that allows immediate, nonsequential access to linked items of information.

In a hypertext document, when we see an intriguing footnote, we press a key (or click a mouse button), and the citation pops up on the screen for us to read immediately. When finished, we press another key and resume our reading at the point where we left to check the footnote. No longer are we encumbered by the linear aspect of printed material.

The word originated back in the sixties, when Ted Nelson coined it to refer to a method of presenting information that circumvents the traditional linear approach. We are accustomed to doing things sequentially. We read page one before page two, chapter one before chapter two. We may see a footnote that intrigues us, and perhaps we immediately put down the document we are reading and look up the citation elsewhere, but more likely we save it for later. Hypertext is changing all that.

Nodes and Links

Central to the idea of hypertext are the concepts of nodes and links. A node is one item in a hypertext database. A link connects two nodes. Links c- serve many purposes. They can correct citations within a document to that which is cited. They can connect a comment or annotation to the text about which it is written. Entries in a table c- have links to descriptive text or Source citations.

Some links are referential, in that they connect a particular node with the source node that references it. The link between a comment and the text tO which it refers is an example of a referential link. Other links are organizational. They serve to connect a parent node with its children. creating a tree-like structure. An organizational link could connect a node about Alexander Pope’s satirical style with a group of nodes that discussed satire in general and other specific satirists.

Documents can show the presence of a link in a variety of ways. Sometimes it is a highlighted word or phrase. At other times there might be a small image, called an icon, on the screen. In either case, the user simply places the cursor or pointer on the link indicator (often called a “button”) and clicks the mouse or presses a key. The system then “jumps” to the indicated node, much as a retailer will check out products at the point of sale using a high quality cash register.

Vannevar Bush

The concept of nonsequential access to information originated with Vannevar Bush, president Roosevelt’s science adviser during World War II. Bush had been overwhelmed bY the sheer magnitude of scientific and scholarly research published in recent ye-, and turned his thoughts towards a means of making 66 data available in a way that would be useful. He designed a machine he called the “memex.”

Bush’s memex was based on the leading-edge technology of his time, microfilm. It contained microfilm copies of all scientific information and the film itself had magnetic codes imbedded at strategic points. If a reader wanted to pursue a particular footnote or thought, he jiggled a lever that caused the memex to load the microfilm containing the corresponding code. It was crude, certainly, but nevertheless, it was the first expression of his concept of linking related pieces of information together.

Engelbart and Nelson

The next important person in the development of hypertext was Doug Engelbart Of the Stanford Research Institute. (Rodent pushers pay homage to him as the inventer of the mouse.) Engelbart published an influential paper, “A Conceptual Framework for the Augmentation of Man’s Intellect,” and he helped develop a prototype hypertext system called NLS (on Line System). In 1968 he put on a dramatic live demonstration in which he collaborated with a colleague 500 miles away while they worked on a hypertext document.

At about the same time that Engelbart and his colleagues were developing and demonstrating NLS, Fed Nelson, Andries van Dam, and others at Brown University w- -gaged in their own experiments with hypertext. (It was Nelson, remember, who coined the term “hypertext.”) He liked the word because “hyper” means extended, generalized, and multidimensional,” while “text” comes from “the Latin word for weaving and for interwoven material.”

Nelson, van Dam, and some students at Brown designed a Hypertext Editing System, a crude word processor, with the ability to insert, delete, move, and copy text. It was, however, very sophisticated in that it used unidirectional hypertext pointers or links to reference other portions of a document. Nelson and van Dam moved on to other projects, and the Hypertext Editing System found its way to other universities. The Houston Manned Spacecraft Center purchased the system and used it to produce the documentation for the Apollo Project.

Of the people who have written about hypertext, Ted Nelson has been the most prolific. Andries van Dam calls Nelson “a self-proclaimed visionary who deserves the title.” He has taken a literary approach to the idea of augmenting human intellect, even titling one of his books Literary Machines.

Nelson’s grand scheme is to create a unified literary environment by placing all the world’s literature online. In the 1960s he began his Xanadu Project, named after the “magic place of literary memory” in Coleridge’s “Kubla Khan.” Although there is skepticism as to whether Nelson will ever achieve his objective, Xanadu provides us with a model of how something like that might be done. Project members have taken great care to ensure that copyright protection is maintained, and Xanadu includes a system for accounting and distribution of royalties.

These efforts, as well as others at Brown and Carnegie-Mellon, constitute the first generation of hypertext systems. The next generation was born in the 1980s and took advantage of technological developments not available to the first, such as very powerful, high-resolution workstations and laser disk technology. Now it was possible to include more than just textual and graphical data in a system. Laser disks made it practical to include other types of media, giving rise to “hypermedia” systems that could include digitally encoded sound and video.

Second Generation

A good example of this second generation is Brown’s Intermedia Project, which began in 1985. It has the goal of using hypertext/hypermedia as a vehicle to assist teachers and students in scholarly activities. Students peruse hypermedia databases, clicking on linked “buttons” to access related material. In an English class, for example, they can read biographical essays about major writers, examine historical timelines, and read criticisms and opposing viewpoints virtually side-by-side.

NoteCards is one of the best known and most widely used second generation hypertext systems. Developed at Xerox’s Palo Alto Research Center (PARC) during the early 1980s, it began as a support tool for information analysts. It provides users with the ability to gather, collate, and store pieces of information and then organize or link them together in a manner suitable for producing a report. In a sense, then, it is a hypertext thought processor. In reality, however, it is an authoring system that allows users to create and modify hypertext structures.

LEVEL 7, a novel about nuclear war, scared me half to death in my early teens. The claustrophobia of an underground bunker, where the inhabitants gradually die from radiation sickness starting with the uppermost and ending with the deepest and most privileged level, is imprinted on my memory. Nuclear war was being talked about around 1959, when this novel by Mordecai Roshwald appeared; those were the days of “duck and cover” drills in school and of fallout shelters in the backyard. Science fiction not only articulated but also intensified a current obsession.

Having experienced the power of a novel about the underground, I can understand why Rosalind Williams chose this subgenre as the focus of Notes on the Underground, her book about an earlier traumatic period, the Industrial Revolution. The journey to the underworld captured the imagination of engineers, archeologists, and novelists in the nineteenth century. Yet the energy that much of this exploration generated can be read as a sign of anxiety as well as enthusiasm. In nineteenth-century literature, Williams shows, characters often descend into the earth to escape from the fallout of the Industrial Revolution-class conflict, overcrowding, war, and a butchered landscape-only to find other problems underground.

Most of the books Williams looks at are pretty obscure. If the greatest literature transcends its time, schlock does not, and so makes terrific fodder for cultural historians. I am grateful that Williams is willing to wade through novels about life underground such as Edward Bulwer-Lytton’s The Coming Race (1862), William Delisle Hay’s Three Hundred Years Hence (1881), and Gabriel Tarde’s Underground Man first published in French in 1896), which I can safely bet I’ll never open. Even the plot summaries are a snore, though Williams’s analysis more than makes up for them.

But Williams is also interested in the works of jules Verne, whom many generations have not found dull. Verne’s books, which have been relegated to the status of children’s literature, are better known than the obscure titles by Bulwer-Lytton or Tarde, but that does not make them well understood. As Williams clearly shows, Twenty Thousand Leagues Under the Sea (first published in 1869-70) contains much more than the gee-whiz gadgetry that impressed me in my preadolescence.

It turns out that Verne was something of a social theorist. He sets some of his ideal societies underground (or underwater) because be could structure these unreal, enclosed environments according to his imagination. For him, and for some other nineteenth-century writers, Williams notes, the underground served as a “subterranean laboratory” for fictional social experiments.

Verne’s political orientation is difficult to pigeonhole-even contradictory, according to Williams. Like the utopian socialist Saint-Simon, Verne believed that harmonious cooperation would result when people worked together on scientific projects. He also had a recurrent fantasy that workers would no longer be exploited if human labor were replaced with technology. At the same time, though, the utopian promise of the Industrial Revolution goes unfulfilled as Verne’s ideal technological societies fall prey to despotism. In Twenty Thousand Leagues Under the Sea, the son of an Indian raja, unable to liberate his people from the British, leaves land to find a free environment, but imprisons and enslaves three passengers in his high-tech submarine. In Black Indies (1877), a subterranean community is threatened by a property-hungry madman and responds by instituting a police state. Because Verne displays such hostility toward authority, it is not suprising that one critic has called him a closet anarchist, another an underground revolutionary.

Williams’s discussion of Verne’s and other underground utopias reveals an important point about much science fiction: futuristic vehicles-the spaceships, time machines, and submarines that fascinated me when I was a kid-are often red herrings. What’s important in the literature Williams discusses is less how characters travel than the nature of the communities where they end up. As the British literary historian Raymond Williams puts it in an essay called “Utopia and Science Fiction”: “The mode of travel does not commonly affect the place discovered.”

Literature and Social Change

I mention Raymond Williams because he shares more than a surname with Rosalind Williams. Both Williamses-as well as Theodor Adorno, Walter Benjamin, Eric Hobsbawm, Terry Eagleton, and Frederic Jameson all of whom appear in the footnotes to this book) – are part of a Western European and American movement to reinterpret Marxism so that it does not oversimplify the relationship of literature to social change. Gone is the simpleminded determinism so popular in the Stalin era that teaches that art merely depicts preexisting socioeconomic conditions. While Rosalind Williams writes that nineteenth-century novels about the underground express anxieties spawned in authors and readers by the Industrial Revolution, she also shows a reverse process, whereby imaginative works inspired the use of technology in the real world. (One does not have to be a Marxist to make such observations, but many historians who relate art to its social context have, whether they acknowledge it or not, been influenced by Marxist theory.)

According to Williams, the journeys to the underworld dreamed up by fiction writers shaped nineteenth-century science. For example, excavation-including mining and the building of tunnels, subways, and urban utility systems “was cast in mythological terms, as a heroic journey into forbidden realms.” In fact, a mid-nineteenth-century Baedeker guidebook recommended that tourists visit Parisian sewers-and they did.

Technological practice and aesthetic discourse cross-fertilized each other, and so should not be viewed separately, her study suggests. With the Industrial Revolution, for example, writers expanded the aesthetic concept of the sublime-a feeling of awe evoked by immense size and grandeur-to apply not just to mountains and volcanoes but to technological wonders such as mines and electrically lighted caves. A taste for the sublime even influenced the development of the city, with its illuminated commercial arcades. “The fantasy of the enclosed artificial environment has flourished, primarily because it is so marketable ” she asserts. To judge from today’s proliferation of vast underground shopping malls, a taste for the sublime still influences the way we shape the world.