Aristo Tacoma [[[ESSAY as at norskesites.org/fic3inf3/essay20111108.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.]]] THE IMPORTANCE OF FULL LIPS AND NOTES ON THE PHILOSOPHY ON GETTING JOY OUT OF BEING GENEROUS TO BEAUTY -- With a small program doing curves in a somewhat new way [[[Please also get the 2 small screen images as found at norskesites.org/fic3inf3/essay20111108-a.jpg norskesites.org/fic3inf3/essay20111108-b.jpg to view when mentioned within.]]] Life is a mystery -- necessarily so, to all human thought, not just now but always -- do you agree? I mean it in the loveliest, sweetest sense: there is simply no way that the human mind with its thought can EXPLAIN that immense beauty called "life". This and that and the other little feature of life can get some sorts of relative explanation. There is some degree of science and some degree of improvement of some parts of science at times. But life itself is forever the beyondness. There is no formula of life, no algorithm of life, there is no master pattern of life, there is not any single key molecule that explains more than a tiny fraction of what life is about -- the DNA, the genome, the stuff beyond the DNA -- and there is not any primary material building-block of life. And so when there is any theory of life, socalled, and you look at it -- darwinism, neodarwinism, or other cartoons, pets, and neo-cartoons and neo-pets -- it is all incoherent, relative to explaining that grand coherence called life. But when you, with great sensitivity and a thought for finer nuances, look into what in supermodel theory is called nonlocality, you get a sense that life is intrinstically woven up by nonlocality. And so you can sense something of the greatness that petty so-called scientists, but more properly called quasi-scientists, are trying to overlook -- namely that life properly speaking is synchronistic, a question of grander intentions, a question of a beauty that is beyond definition and a goodness that is beyond definition, beyond reduction, and yet in some sense both objective and inter-objective, or a question of actual relationships. These are perhaps big words but surely we must appreciate some big words to talk about anything of that biggest words of all, LIFE. In meditation, you can enquire intuitively into such as -- is it not a slightly greater degree of nonlocality or direct, immediate, noncausal resonance where the bodies are within a 500 meter zone? This is compatible with supermodel theory. And so when you enquire intuitively, you must be able to relate to results without always asking why, why, why. Is the result logical enough, relative to what you have fairly good knowledge about? Or do you SENSE that it is compatible or coherent with greater understandings, even if it is perhaps a bit in contradiction to this or that assumption you have typically made in your mind? Then the result, or hypothesis, or whatever we call it -- working assumption -- can be adopted for further enquiry. And you must also be humble, as a human being, relative to the possibility that some patterns of questioning are not proper. There is for example that thing called 'carbon dating' -- or, I should say, SO-CALLED "carbon dating". This has been used rather unquestioningly (alongside analogous techniques, just as incoherent) to 'put a date' to certain events, connected to what is presented (by darwinistic incl. neo-darwinistic superficial thinkers) as a kind of grand geological and biological actual history of the past. This and that happened fifty thousand years ago, such and such happened a hundred million years ago. But all they really are saying is that such and such events appear to be CORRELATED. For there is no way that the assumedly radioactive decay of carbon atoms and similar atoms for sure can be said to refer to any duration at all. (This is not merely a metaphysical point, connected to what I call 'past as simulation', but also a physical point.) What is clear is that for human beings to evolve, in consciousness, and sustain and so on their health and holistic beauty and more such good things, a relaxedness about connecting an aspect of their existence to a sense of cause-and-effect is important, valuable, good. I think those who try to be overly religious every day, who pine themselves on reminding Jesus the Messiah nailed to the cross by some barbaric human males every day, are overdoing it. The more real theological reality is, the more obvious it should be that it, out of a compassion to the human mind and heart, is masking itself. And so the idea of the noble, balanced, unattached yet kind and also humble buddha, with the associated ideas of reincarnation, is more practical in daily life -- although it can be overdone as well -- and it can fruitfully be (esp. in optic tradition) combined with the former symbol, the two -- Western and Eastern approaches or principles, combined into one, whole mind and heart. So causation -- and that includes computer programming, and love-making, and fun, and fiests, and some level of duties, and some fighting, money-making, business, a litte bit of eating, and some struggle against one's own ego -- causation is part of life. It is not all a miracle of sudden existence of the whole grand actual universe, all the things we have talked about. Causation exists to make daily life possible. (And this is NOT an attempt to argue for anthropo-centrism, I am as theo-centric and as muse-centric as always, I merely say that the human mind needs some respite from all the over-theologisation that some people have preached in the 20th century and before.) And so, in this human real life, beauty -- the experience of the beauty of another human being also -- gives you joy, when you give yourself over to it. And if you are able, by your presence, by your disciplined lack of over-eating, and your disciplined presence of training, also stamash martial arts, also dance, and so on -- to give rise to the experience of beauty in others, allow them to relish in that, and allow them to cultivate this beauty in you, receive that cultivation and pass it humbly on to the muses, in their ever-greater beauty than the human beauty, and they will pass it on to the highest, to God. So beauty is persistent through the universe and never ever claim it is 'but in the eye of the beholder', never ever claim it is subjective, exept if you are philosophically oriented towards enquiring into the view with an eye to negate it. So you are generous when you have a beauty to emit and when you allow another to feel joy about your beauty, you should not be ashamed, not deny it, but be generous in allowing the other to cultivate it, let the meditation happen, contribute to it even, as in love-making, you make the best of yourself for the sake of the totality of the sex experience, the play, the fun, the unforgettable selflessness about beauty as such. You are orchestrating this beauty, not really owning it, even if it your own body that's involved. And so, theologically, sex is important. This is the tantra of Tantra Yantra Mantra, Sex Physics Meditation. Tantra is the godlike pereption of sexual fun. It is never a dogma, never a branch of hinduism -- these words belong to all, as they are from sanskrit, like Samyama, which means a magical blending. And one of the most important sexual organ, which also is the organ of teaching enlightenment to each other, is of course the mouth: and so it is the full lips, the pouting mouth, that teaches us to see sexual fun and playfulness as central in enlightenment. And so it is part of objective beauty to appreciate the importance in a girl's smooth, unwrinkled, balanced face, with a cute nose and sensually melting eyes, that the lips are very full: and when you see this in another, you don't start saying -- oh, is my mouth any good compared to hers -- but you say, oh, wonderful, lovely lips, I must act well in this body so my next body can get just as lovely lips or even better. You don't let it become an issue of merely HAVING the best mouth because fun and joy are about pereiving beauty, more than possessing beauty: but if you have such lips as are a sensation yourself, naturally you can find it easy in your heart to be generous to the dedication some others might show even if they don't offer you a similar theatre at the moment. So generosity is important both for the havers and the have-nots, and the notion of reincarnation says: don't grudge, be generous whether you are giving or receiving adoration, fulfill the greater intents of this reality, and all good experiences will come, more and more, to all. Let the thousand millenia be your time unit of choice, so that the weeks and their events will seem less a toil. Let us then make a new routine or a pair of them, (LET SWING-LEFT-THEN-STRAIGHTEN BE (( >N2 >N1 )) (( (( }* .. }* )) )) OK) (LET SWING-RIGHT-THEN-STRAIGHTEN BE (( >N2 >N1 )) (( (( }* .. }* )) )) OK) -- and these will build on the PEN-LEFT that you may know a little about if you have looked or even worked with some of the earlier programs in the essay series. Of course, PEN-LEFT can also move to the right, if we but give it the right number, which is any number up to about 3600. So for instance, turning a little to the left is giving a number like 100, while turning just thsi amount to the right is a question of giving it one hundred less than 3600, namely 3500. A whole circle is said to have 360 degrees -- a bit like a year if we think of it as composed of 12 months of 30 days -- these degrees attributed, I believe, to the ancient egyptians with their magnificent geometry. Here we give it a decimal position extra, so 0.0 to 360.0, and then we remove the dot so that we treat the number as an integer or whole number for simplicity, and that's how we reach the idea of 3600 as a whole circle. Traditionally, it goes counter-clockwise up from the horisontal axis, the X, axis, so that it takes all of 900 degrees in our measurement scale to get all the way up to the vertical point of view, the Y axis. PEN-DRAW then goes a certain number of steps straight in the direction we have pointed the pen, leaving PEN-X and PEN-Y to tell us where on the screen, if we need that info. Let's draw lips! Or, more precisely, let us put to the computer one way to draw full lips -- knowing well that there is an infinity of healthy, beautiful pouting mouths of sexy girls, in principle, and that this program will only depict one class or type of pouting mouhts -- without in any way saying that this is the best class or type. It is simply a way that comes fairly simple across by means of the SWING- routines we have in mind. The SWING-LEFT-THEN-STRAIGHTEN will accept, as a proposal before we've made the program, two numbers: how much it is going to swing before straightening, and how fast it is going to swing before straightening. This fastness will be given in terms of a percentage, I have in mind. SWING-RIGHT-THEN-STRAIGHTEN does the same thing to the other way. This will call on PEN-LEFT and PEN-DRAW in some kind of loop, just the type of loop we would want to make a drawing of full lips. Imagine you start at the left corner of such a mouth, and you are going to swing gracefully up to the left -- then straighten out -- then slowly then faster swing to right, and turn a bit abruptly (here we do PEN-LEFT instead of any SWING-, it would seem) -- as we have reached the middle of the top of the upper lips -- and we would carry on symmetrically all over to the rightmost point. Then we would do PEN-LEFT abruptly, effecting a change to the right by a high amount of degrees, near 3600, and begin on the lower lips, by some swinging, some straighening out, and some swinging in the symmetrical way again, and hopefully reach the starting-point, more or less. Shall we try? And then you can count on this program having some kind of input for some variation of the lip-drawing, so that each program run is somewhat different. As normal, you can clip out the program -- LIPTYPE5 we call it, so you can save the program as LIPTYPE5.TXT in the boehmian folder, and start it by typing, in a normal dosbox, F3 then press lineshift, then type :LIPTYPE5 IN and if you have clipped it correctly from this essay, you should see first the text screen here included (in reduced size, and blurred a bit, so that running the program is a fresh experience not conditioned by such examples of a program run), then -- as you go from that text screen to the graphics, you would get something similar to it. Why don't you try to make another lip-type, or another positioning of the lips, by means of some changes of how the SWING-.. routines are used? It can teach you a lot about both programming, lips, beauty and art to do it! Good luck!!! [[[Look at ../fic3inf3/essay20111108-a.jpg here & now]]] [[[Look at ../fic3inf3/essay20111108-b.jpg here & now]]] }* LIPTYPE5.TXT WRITTEN BY A.T. with L.A.H., }* }* Yoga4d.org/cfdl.txt copyright -- redist. }* }* For essay20111108 in fic3inf3. }* (LET BLACK-CLS-THEN-DRAW-GREEN BE (( )) (( (( 1 ; 1 ; 1024 ; 768 ; 1 => FT RECTFILL )) (( PEN-ORIGO )) (( PEN-STRAIGHT-UP )) (( PEN-COLOR => SETBASIS )) )) OK) (LET PEN-RIGHT BE (( >N1 )) (( (( 3600 ; N1 => SUB => PEN-LEFT )) )) OK) (LET PEN-STRAIGHT-RIGHT BE (( )) (( (( PEN-STRAIGHT-UP )) (( 900 => PEN-RIGHT )) )) OK) (LET PEN-SYMMETRICAL-AROUND-X-AXIS BE (( )) (( (( 3600 ; PEN-DEGREE >>> => SUB PEN-DEGREE <N2 >N1 )) (( (( N1 ; 6 => DIV => >N1 )) (( PEN-DEGREE >>> => >N8 )) (( 15 (COUNT (( N10 PEN-DEGREE < MUL ; 14 => DIV => PEN-LEFT )) (( N3 => PEN-DRAW FT )) COUNTUP) )) )) OK) (LET SWING-RIGHT-THEN-STRAIGHTEN BE (( >N2 >N1 )) (( (( N1 ; 6 => DIV => >N1 )) (( PEN-DEGREE >>> => >N8 )) (( 15 (COUNT (( N10 PEN-DEGREE < MUL ; 14 => DIV => PEN-RIGHT )) (( N3 => PEN-DRAW FT )) COUNTUP) )) )) OK) (LET DRAW-LIPTYPE5 BE (( >N1 )) (( (( BLACK-CLS-THEN-DRAW-GREEN )) (( ^600 FR GETV PEN-X < FUNNYRFFG => ADD PEN-Y < MUL => ADD => PEN-LEFT )) (( PEN-X >>> => >N8 ; PEN-Y >>> => >N10 )) (( 55 ; 350 => SWING-LEFT-THEN-STRAIGHTEN )) (( 40 ; 850 => SWING-RIGHT-THEN-STRAIGHTEN )) (( PEN-SYMMETRICAL-AROUND-X-AXIS )) (( 50 => PEN-LEFT )) (( 42 ; 850 => SWING-RIGHT-THEN-STRAIGHTEN )) (( 52 ; 350 => SWING-LEFT-THEN-STRAIGHTEN )) (( PEN-X >>> ; PEN-Y >>> ; N8 ; N10 ; PEN-COLOR >>> => LINE )) (( PEN-X >>> ; PEN-Y >>> INC ; N8 ; N10 INC ; PEN-COLOR >>> => LINE )) (( N8 PEN-X < MUL => ADD => PEN-RIGHT )) (( 55 ; 350 => SWING-RIGHT-THEN-STRAIGHTEN )) (( 40 ; 850 => SWING-LEFT-THEN-STRAIGHTEN )) (( PEN-SYMMETRICAL-AROUND-X-AXIS )) (( 40 ; 880 => SWING-LEFT-THEN-STRAIGHTEN )) (( 55 ; 300 => SWING-RIGHT-THEN-STRAIGHTEN )) )) OK) (LET LIPTYPE5 BE (( )) (( (( }LIPTYPE5.TXT PROGRAM IS PERFORMING NOW!} => POP )) (( }NOTE: THIS PROGRAM ONLY DRAWS ONE TYPE OF POUTING} => POP )) (( }MOUTHS, ONLY ONE TYPE OF FULL LIPS, AMONG THE} => POP )) (( }GREAT VARIETY OF BEaUTIFUL POUTING MOUTHS & FULL LIPS!} => POP )) (( }A tiny little bit nonsymmetry has been inserted, to} => POP )) (( }indicate liveliness. For simplicity of control, we} => POP )) (( }draw roughly the same symmetrical lower lip as upper lip.} => POP )) (( }There are full lips wanting to be your favorite} => POP )) (( }new type of pet, your neo-pet so to speak,} => POP )) (( }on a skinny, healthy body: type a number 5..24: } => POPS )) (( READLN ; 5 ; 24 => SET-RANGE => >N1 )) (( GJ-ON )) (( N1 => DRAW-LIPTYPE5 )) (( A-KEY )) (( GJ-DONE )) )) OK) (( LOOKSTK )) (LET AUTOSTART BE LIPTYPE5 OK)