Aristo Tacoma [[[ESSAY as at norskesites.org/fic3inf3/essay20111103.txt Written talk. Yoga4d.org/cfdl.txt redist license. Consult published works as at yoga6d.org/cgi-bin/news/f3w which are containing key concepts connected to what this writer calls 'neopopperian science' and also 'supermodel theory', which involve also perceptive processes -- concepts effortlessly drawn upon here.]]] EAGER TO LEARN AND TO FIND THE GENEROUS FLOW OF DANCING -- Engaging with the world, rather than merely drifting along (with a small program illustration) [[[Please also get the 2 pictures as found at norskesites.org/fic3inf3/essay20111103-a.jpg norskesites.org/fic3inf3/essay20111103-b.jpg to view as mentioned within.]]] I think, in these informal little workshops, or mini-seminars, or whatever we call them -- that we are lucky to create, it is an abundance thing, it is not a thing one does in a place of trouble -- that we are not just aiming to give each other insight, and language skills, and new ideas, and such, but also, we are -- are we not? -- encouraging each other to meditate more. So what is meditation, really? I mean in the sense: not what is it to sit still and close one's eyes and connect to silence more deeply, but what role has meditation as a wave of life-feeling in our daily life, in our dance life, in our sex life, in our night life -- and when we connect to each other spontaneously? For meditation, surely, though it may be grounded if that's the word I want in sitting still and such, certainly there is nothing more social than meditation: it is the essence of connectedness. Social networking IS meditation. No? Does it make any sense of you to say that social networking is meditation? You are eager to learn, right? The urge for new insights -- the hunger not for fatty foods but for insights -- keep the sexuality rolling, keeps the dance moves good, heals the body of every kind of little cold. Be eager to learn, don't just drift along with false coldness, the collusions, the illusions temporary drifting through the masses in their stupidity. To be awake to higher spirits, to higher conscience, to higher dance, you must see through false fashion aspects of humanity as manifest, and go to the unmanifest, and drink of that, finding your own magnetism. That is part of meditation. That is part of what programming can do, also. Surely, to have a whole mind, where we weigh things in proportion, where we have wisdom, harmony, laughter, fun, the twinkles and the sparkles and the gleam and sheen and all that -- this involves having the right measure, the right weighing or pondering or musing. And so meditation connects to that ancient greek word of measure. They used to say, didn't they, 'man is the measure of all things'. But let's put this in a more enlightened way: the muses are the measure of all. In other words, human beings in the most lofty sense -- as the angelic beings, angelic human beings higher than humanity, felt by all who meditate, felt by all who can pray -- these inspire, these provide a sense of conscience, of what is right, of what is good -- the muses provide measure. So the muses are the measure of all. Humanity at best is a shadow of the muses. The muses are the light, beyond matter. Humanity is a matter that at best connect to some aspect of that infinite beauty which is the dancing trillions of trillions of muses. Do you feel this? I say it as a credo, as a statement of faith, I am not saying that this and that laboratory experiment proves it. In the science laboratories one may prove that the foundation of matter is not matter. In other words, in the science laboratory one can get clear indications of a negation: that the ground of matter, or what de Broglie called matter waves, or pilot waves, is an organisation principle not itself anchored in matter. Notice the word "not". So science falsifies, or rejects, mechanism. Science falsifies the mechanical worldview. Science falsifies also darwinism. But it doesn't itself show the deeper reality, not unless we emphasize the intuitive part of neopopperian enquiry into reality. By intuition, not by sensory empirics, do you come to the muses. This intuition is something that you must not get dogmatic about: cocksure intuitionists are illusionists. There are, there have been, many cocksure idiot intuitionists who speak of false beings, imaginary beings and who proclaim particular contact with false beings like those named in the theosophical tradition, Kuth Humi -- or they may be named Sissy Lovemyknee or whatever -- and it appears that there is no lack of weak-minded followers, who sit around in their little secterian groups and hope that they have found the Big Truth that the rest of the world hasn't have the luck to have found yet. They may be fat and overeating, they have foul manners, they quarrel and dress badly, but they have found that Eternal Truth that nobody else has found, and it gives them an extra pitch each week to go to their little group and get more Revelations. So instead, if you have a relationship to God, you discard all secterism about it. It is a private thing. You pray privately, to God and his beings beyond human beings as you know them, and you do not make a point of it. Also, you never claim privileged access to any one. You never even slightly claim that you can control an angelic being. Those in humanity who claim that they can control angelic beings -- never mind what the Quoran said -- have lost all coherence in their minds. The beauty is to be anonymous about it. Neopopperian science teaches you the beauty of humility when it comes to accessing reality. The -popperian aspect of being neo-popperian in your scientific enquiry means that you are cautious in what you propose about reality, and you invite checking. Then the religious part of you regularly asserts a quiet, meaningful faith in God and his muses, his trillions and trillions of muses, ruled by the three top muses who are right under God in a hierarchy that no human being can try to position herself or himself up against. That quiet religious faith of you gives you a peace of mind, an unselfishness when you dance or pose for camera that emits its own scent of beauty beyond self. So when you go to a cafe or to any place where you can associate freely with other people, you have this harmony within you, for you have a faith, and you are not a person wrapped up into secterian notions. You have then not so much fear, but rather an interest in exploring the reality of other people, the beauty of girls -- you being girl yourself makes you naturally interested in other girls, without there being any secterian about it; it is a fundamental fact of all girls of beauty that when their minds are glad and lively, there is a love and also sexual love for other girls of beauty -- I know of no science to deny that. And so, you must care for you own beauty, for it is a foundation for your generosity, for your social networking, which is this real and actual thing no website can ever replace. Websites can, like computers in general, stimulate to more fluctuations. And so these fluctuations we can learn of and bring into our dancing motions elegantly, as an inspiration. The dance of social networking then involves that you, so to speak, cash in on spontaneous features of the situation, when these speak in the direction of beauty. A good cafe has then a design that invokes improvisation, flux, good fun, variation in connectedness among its people. Folks go up to get a new cup of coffee, rather than merely sitting around waiting, -- and cafe tables and chairs and sofas are here and there chaotically and cosily rather than lined up in a militant office-like manner. Light is relaxing and non-intense, helpful for perceptions of beauty. Music is so as to call on a sense of dance and talkative fun. And those who run the cafe knows how to make perhaps tobacoo-like inspired scents in the cafe, and food-scents, and such, and they are also trained enough in being a little tough when they have to, so that people of a bad sort is kicked out as a matter of routine, to protect the dancing innocence of its true guests. Social connectedness, engaging in a social network, then involves a generosity to the beauty of others and a generosity in yourself that you only give of your beauty, not of anything else than beauty, generally speaking, as well as a generosity TOWARDS yourself in that you overlook that which is not beautiful, rather than having to be over-polite if a self-pitying person is sulking for some ill deserved attention. Dance belongs to all, invokes health in all, inspires to sexuality for all, is an expression of faith in God as Lord of Dance and is the most muselike of behaviour a human being can engage in, when done in good taste. So dance is essentially and necessarily a mode of action beyond ego. In its anti-nietzsche form, it is showing that the most exquisite of long-limbed female beauty can contain superb strength making militant fist-raising and militant male-fascism seem rediculous. It can call on the artistic form of cannibalism, yet sexually enlightened and it can whip and be sm-hard, yet not loose its femimine soft tender touch of innocence and prettiness. Some may train themselves more than others and let go of certain forms of muscle-requirements more attuned to that of martial arts -- such as by engaging in the ballet split of long legs as artistically beautifully expressed in their dances, and learn certain symmetries while they train as a group which nevertheless has a solid good measure of improvisation in their choreography, but each skinny person of good health and radiance IS a dancer when meditation is there. Those who have trained much and who have that particular scene-radiance for the professional dancer can be engaged by the state, by society as a whole, to officially nurture the flame of dance for all -- making everyone do whatever they are doing with greater ease, joy, fun and meditation. So dance is the ultimate of sharing. A religious society knows that dance reflects the highest beings under God and so, in a sense, is a society of dance. Let us go from more lofty comments over meditation and such to a concrete illustration using the nuts and bolts of the f3 language -- a little program. It sharpens dance, too, when we have a contact with something formal. You walk into a cafe and see at once up to 9 interesting objects of beauty, let's say! They are here symbolised by that rediculously simple object called a 'rectangle', and these move around on the screen. The program in this case does not concern itself with illustrating any of these characters: rather, we are interested in visualising the lines of connectedness between the people. We could have made the program so that it shows lines of connectedness -- if that is the phrase I want -- coming off and on -- but here we limit the illustrative program to showing connections coming on. In an optimistic spirit, in other words. So the screen initially start with ten rectangles, one filled, indicating yourself, and the other 9 beautiful people in the cafe are rectangles with numbers 1..9 inside them. So you connect say to beauty person number 5 by clicking space bar, to indicate yourself, and 5. To indicate a connection between 5 and her pretty friend 4, you click either 4 and then 5 or 5 and then 4. And such. It can be quite a network and it moves. Ten times ten possible connections is up to one hundred connections, and each one of these can be positioned in many dozens of different ways on the screen. We will not bother about filtering out overlapping positions here, to keep the program simple. A command like RAM-PM makes a list of lists of numbers, or in other words, what we call a matrix -- a list having both rows and columns. Here, we can have ten rows, and for columns in each we need somewhat more than ten. At the moment I am not sure how many so let's say fifteen. So this is the only line of the program I am sure of before I begin. Every function used in the program, which you can try for yourself if you get this talk in essay form and click CTR-DEL at the beginning of it to remove all text but the program, then store it undera new name, -- every function is already talked about in earlier programs. Here is the line, then some small and blurred screen examples (for I want you to see the exact program run with fresh eyes, seeing the large images in their exactness moving about, not too conditioned by these examples). ((DATA DANCING-BEAUTY-OBJECTS 15 ; 10 => RAM-PM DANCING-BEAUTY-OBJECTS < EQN it means that one out of every nth time (in this case, 5th), it will, on the average, do something along the lines of what follows, the stuff within within the (MATCHED MATCHED) pair. In this case, the people change direction not every time but around every fifth of the time. The matrix is so that it stores whatever you like as long as you use the numbers consistently. Here, column 1 and 2 is X and Y, while column 3 and 4 is variation of X and variation of Y -- in other words, their speed of movement in any direction. Positive Y is further beneath on the screen, while positive X is further right, and signed or negative values simply means the other direction. These have to be added to the dancers AFTER we have shown both the dancer symbols, in this case rectangles (rediculously simple, but then again, this is a FORMAL ILLUSTRATION of SOME aspects of what we are talking about, and for that reason the program can be over some pages rather than a hundred page). The connections themselves are in column 5..15, and so I add 5 several places to address them. I have put in a control to avoid a dancer connecting to herself in this program, for I don't want to send zero-values along to the LINE function that draws the lines symbolising connections. Programs are not as good as people about self-reference ;) In any case, GOOD LUCK!!! }* SONET.TXT WRITTEN BY A.T. with L.A.H., }* }* Yoga4d.org/cfdl.txt copyright -- redist. }* }* For essay20111103 in fic3inf3. }* ((DATA DANCING-BEAUTY-OBJECTS 15 ; 10 => RAM-PM DANCING-BEAUTY-OBJECTS < SETBASIS )) ((DATA CONNECT-SECOND CONNECT-SECOND => SETBASIS )) (LET SET-UP-MATRIX BE (( )) (( (( DANCING-BEAUTY-OBJECTS >>> => & )) (( 10 (COUNT (( 850 => FUNNYRFFG ; 1 ; N1 ; # => PM )) (( 550 => FUNNYRFFG ; 2 ; N1 ; # => PM )) (( 30 ; 60 => FUNNYRFFG => SUB ; 3 ; N1 ; # => PM )) (( 20 ; 40 => FUNNYRFFG => SUB ; 4 ; N1 ; # => PM )) COUNTUP) )) (( && )) )) OK) (LET SHOW-THE-DANCERS BE (( )) (( (( DANCING-BEAUTY-OBJECTS >>> => & )) (( 10 (COUNT (( 1 ; N1 ; # => GM => >N10 )) (( 2 ; N1 ; # => GM => >N11 )) (( ^5 FR GETV ; 5 => EQN (MATCHED (( 50 ; ^100 FR GETV => SUB ; 3 ; N1 ; # => PM )) (( 50 ; ^100 FR GETV => SUB ; 4 ; N1 ; # => PM )) MATCHED) )) (( N1 ; N10 ; 30 => ADD ; N11 ; 10 => ADD => B9-POP )) (( 10 (COUNT (( N1 ; 5 => ADD ; N3 ; # => GM => >N8 )) (( N8 => ISPRO (MATCHED (( 1 ; N3 ; # => GM ; 60 => ADD ; 2 ; N3 ; # => GM ; 40 => ADD ; 1 ; N8 ; # => GM ; 55 => ADD ; 2 ; N8 ; # => GM ; 35 => ADD ; 1 => LINE )) MATCHED) )) COUNTUP) )) (( N10 ; N11 ; N10 ; 120 => ADD ; N11 ; 40 => ADD ; 1 ; N1 ; 10 => EQN = RECTFILL == RECT === )) COUNTUP) )) (( 10 (COUNT (( 3 ; N1 ; # => GM ; 1 ; N1 ; # => GM => ADD ; 1 ; 850 => SET-RANGE ; 1 ; N1 ; # => PM )) (( 4 ; N1 ; # => GM ; 2 ; N1 ; # => GM => ADD ; 1 ; 550 => SET-RANGE ; 2 ; N1 ; # => PM )) COUNTUP) )) (( && )) )) OK) (LET DO-THE-SOCIAL-NETWORKING BE (( )) (( (( GOLABEL3: )) (( CLS )) (( SHOW-THE-DANCERS )) (( 500 => GOODPAUSE )) (( KEYTOUCH (MATCHED (( KEYNUM => >N5 )) (( N5 ; 27 => EQN = EXIT === )) (( 0 => >N4 )) (( N5 ; 49 ; 58 => WITH = N5 ; 48 => SUB => >N4 === )) (( N5 ; 32 => EQN = 10 => >N4 === )) (( N4 => ISPRO (MATCHED (( CONNECT-FIRST => VISBASIS (MATCHED (( N4 CONNECT-FIRST <>> ; CONNECT-SECOND >>> => EQN => NOT (MATCHED (( CONNECT-SECOND >>> => ONE ; 5 => ADD ; CONNECT-FIRST >>> ; DANCING-BEAUTY-OBJECTS >>> => PM )) MATCHED) )) (( CONNECT-FIRST => SETBASIS )) (( CONNECT-SECOND => SETBASIS )) MATCHED) )) MATCHED) )) MATCHED) )) (( GOUP3 )) )) OK) (LET SONET BE (( )) (( (( GJ-ON )) (( SET-UP-MATRIX )) (( }Hi! ESC to exit program. When you run it,} ; 10 ; 35 => B9-POP )) (( }press SPACE for your (filled) rectangle,} ; 10 ; 65 => B9-POP )) (( }and 1..9 for any of the other beauties.} ; 10 ; 95 => B9-POP )) (( }To socially connect eg. 4 with 6 press 4} ; 10 ; 125 => B9-POP )) (( }then 6; make it mutual by 6 then 4!!!} ; 10 ; 155 => B9-POP )) (( A-KEY )) (( DO-THE-SOCIAL-NETWORKING )) (( GJ-DONE )) )) OK) (( LOOKSTK )) (LET AUTOSTART BE SONET OK)