Aristo Tacoma [[[ESSAY as at norskesites.org/fic3inf3/essay20110920.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.]]] DANCE AND THE LACK OF SELF-IMPORTANCE -- An excursion into the divinely beautiful, a mythological essay and a simple illustration by f3 program [[[Please also get the 2 pictures as found at norskesites.org/fic3inf3/essay20110920-a.jpg norskesites.org/fic3inf3/essay20110920-b.jpg to view as mentioned within.]]] Time for some big words. Whatever there is of science in what I have to say next, I won't spell it out here. Think of two big words: God, and dance. ... Precious, to the human being of great spirit and refinement, is dance, not any crystal or piece of heavy, gleaming metal applied to the body as adornment. What is dance? All of nature, rather abstractly, may be said to be dancing, and there's a flavour of dance in the greatest of statements, but dance, surely, is something which goes beyond both nature and language, and it goes beyond the human male with his crude muscles also -- altogether the human male (who is more nature than the etheral thin dancing longlegged female). The bringing together, the fortunate concatenation of God, muses and spirit flowing through the rhythm and nonrhythm, the motion and stillness, the symmetry and asymmetry, and so on, as exhibited by the well-trained, flexible, graceful, particularly beautiful human being, the girl whose flesh responds directly to subtle essence and meditative soul -- that is the concrete dance, going beyond what even the best of the rest of nature can offer. In this, what I also call, what we can also call, anti-nietzsche dance, for it transcends the ugly admonition to fascist muscle admiration and rather calls on the female, with her both inner masculinity and femininity, to communicate something to humanity directly from the highest realms, we find something other than martial arts. Martial arts, as stamash, is also a form of dance but dance pr se invokes the appreciation of beauty, esthetics and its elegance is not merely part of several aspects, as is the case for stamash martial arts; rather, in dance, whatever is communicated is communicated through sheer esthetics, purified beauty, and the bodies honor this with flexibility and resonance with music and does not resort to other means, if elegance is not enough. And whereas martial arts has a purpose when applied, the dance has so subtle purposes that they are beyond the consciousness of even the best choreographer: they are a kind of ex cathetra, directly from the highest board meeting of the muses. So the dancers must improvise, and the choreography must have eminent room for this, and what happens in each trance is beyond what can be described as steps, as purposes, as alphabets of movements. This, I feel, is the type of thing one must say for dance to be indicated not just in this millenium, but in any millenium, or in any TM -- if we by TM mean a thousand millenium, which may be rather little if we speak of all human consciousness to grow collectively, making one slight step towards enlightenment, or, as refinement of enlightenment earlier achieved. It follows that I am willing to say that dance only for real begins when one throws overboard any tradition of dance, any school of thought as to dance: but all the same, it has to have the highest criterions of beauty for its process and content, its substance -- the flesh of the dancers -- and their capacity, or training. In contrast to martial arts, which requires a certain stiffness for muscles not to over-balance, the dancer, to excell, approaches a kind of ultimate bendability to yield to the vocabulary of the muses in pure esthetics. Is this pompeous, the thing I say, or the way I have just said them? I think not. I think they are simple and concrete but they are necessarily roomy, free from the littleness of worries of daily economy and such, or they would not point properly to dance, merely to circumstances around them. And so many times in the past of humanity people writing carelessly have trampled on the concept of dance with smallish definitions. If I have succeded in un-defining it without making it heavy with smallish ideals, then the words above have not been without value. So dance is clearly not the performance of an ego, or set of egotistical purposes. It is not emotion, but feeling -- from a deeper source in reality than mere human consciousness. Dance is not, then, having anything to do with the self-confidence of those who try to set their own little thought up against the greatness of actuality and spirituality. It is rather an imprinting of something new and important, beyond what any one human can spell out in normal words, of what has to be done. Humanity has a role, I feel -- intuitively, you may appreciate that all parts of reality have both femininity and masculinity. Do you have faith in God? Not as that name in particular, but as a humility that there is no explanation within the knowledge of human thought for how the greatness came about, and how it is unfolding? If you have this humility, then perhaps, also, you admit that humanity is, as a whole, completely and wholeheartedly feminine relative to God, that God is the maleness that both humanity and all beings who link God and humanity in some sense exist to entertain. Yes, entertain. Is this your intuition? Can you make it your faith, even if you intuition is sometimes stronger, sometimes weaker? You may find it coherent to do so. And so, what next step for humanity? That is where the dancers come in, to communicate this next step -- immediately, directly, as a statement of the faithful to the faithful, erotically, elegantly, beautifully, and beyond any human thought or purpose, within the confinements of the dance scene, the dance duration, and within the whole nonviolent context of what we all understand about dance. It is here I believe that the ancient greek myths were entirely to the point, when they said of Zeus and his female divine beings -- analogous, in modern terms, to Deus or God and his muses -- that they are hyper-erotic, and look for this also in humanity; they, too, want to forget themselves in the divinely beautiful. ... The three dots say: It is going on and on, this enquiry. The "etc" doesn't belong to computers, but to thought, when thought is humble enough to be also silent, and meditative, and allow the greater insight. Then there can be an 'et cetera', with its deeper meaning, its unfolding infinity. ... And so we must say: whatever utterly, extremely simple we illustrate, by making a computer program next, may we not be distracted by its simplicity, or by what we can do and not do with the program. For the enquiry, neopopperian as religiously, in what dance is, in whatever time era of humanity, whereever in the universe humanity prospers and has fun, can only have at most a tiny bit of it extracted out and, as mind-stimulation, as illustration, given the form of a computer program. This tiny bit, I intuit, will be put a line or two, or just about, and with your own hands you can make a dance not given to the little program to give to itself. So I am going to leave the big words now for your own further meditation, and focus on an idea I have of a little bit ilustration of a tiny bit of what we said. But let this little bit be just that little bit, it is not anything near such as a 'formalisation' of the above. Then, to f3. When you start up a dosbox, any dosbox suitably extended towards f3, you can type F3, press ENTER (the lineshift button), and start a program or test some program bits. Let us make a program which we might call something like SOLINES.TXT -- so slim graceful lines, SOLINES. So we will come to this program, and it can be started by :SOLINES IN if you copy this essay to SOLINES.TXT and delete all but the completing part of it. I invite you to do so, it will be very much more than the two fuzzy small snapshots of the program I provide alongside this essay on dance. I have in mind that we can press the keyboard so that any one of three keys -- the TABULATOR, the BACKSPACE, and SPACE create new movement, namely, left-movement, up-movement, and right-movement. Exactly in what sense I will leave a bit open to what is easy to program and what looks good when I test the first versions of it and modify for good-lookingness to create the result here brought about. (Correction of programs is indeed a vital part of what programming is about.) The tabulator, sometimes called TABL for short in a program, is the key which typically is entirely on the left of the keyboard and shaped rather like ->] or so. It is used, when I type in B9 editor, to create the two spaces at the beginning of each paragraph. The SPACE is of course the spacebar, the normal big middle button which is used between the words. The BACKSPACE is typically shaped like a left-arrow, something like <--, but it is situated in general above the lineshift key, and in contrast to the four ordinary arrows used usually to correct a misspelled word, rather than for navigation. The programmer can use any key, more or less, as she likes. We will allow the interactor with the SOLINES program to press any one of these three to make dance, and some other, such as the ESC button, to leave the program. The ESC button has number 27. We will use it. The use of function-keys, the F1..F12, is only slightly more complicated to program than the other keys. Most of these can be used freely, with some combinations for many keys with such as CTR, but there are some uses in a dosbox for CTR with F-keys, so these it can be good to not bet at using any too much. There are more than one way to identify which key is being clicked on when a program is run. One of the simplest is by means of getting hold of the number which is associated with the word KEYNUM. Try typing, after starting F3, the phrase KEYNUM POP and press ENTER, then press any key, such as tabulator or backspace or space, and make note of the number that pops up. If you do this, you will find that tabulator gives 9, backspace 8, and space 32. The alphabetical keys give much higher numbers, the lowercase keys the highest of all, and within the f3 context, all keys have numbers within the 0..126 range, which is also called the 7-bit range. These numbers are sometimes, as a whole, called ASCII, the 'A' referring to some American standard committee in early days of initial computing working this out. KEYNUM gives this stuff, then, and when we have a number which we don't want to use for anything, it is possible to type RM to get it away from the stack, -- this is among the things the MTDOCS manual can tell you, and though it has rather very much more information in it than is pleasant to read as a whole, all at once, it can be good to know that in F3, the word WORD will bring it up instantly, and CTR-F can then be used to search up any word. By adding two left-parentheses (( RM before the word itself, you will usually come more quickly to its main entry. Try perhaps also (( KEYNUM to look up info about KEYNUM. Try CTR-L to repeat last search when there are more entries which begin in the same way. I have an idea that the use of a very long -- in fact two very long -- and also slim -- triangles can be what we want to indicate some longlegged dancing elegance here. The word TRIANGLE takes, as input, three positions on the screen, and a tonation number -- a color tone, that is -- and fills up a triangle quick. (It is used very much in LIGHT3D.) Each position on the screen is X and Y, horisontal and vertical. The word TRIANGLE is a bit peculiar in that it wants its values to come from the variable stack. To make a long triangle one may begin at Y=200 and go to Y=600 -- that will be tall, but not so tall it takes the whole screen vertically. We have to put in the word or phrase >>V before each number given to it. Shall we go to it? It won't be necessary with any really new words, I think, beyond what we may already have looked at together, before. Have I explained SET-RANGE? I believe it was used recently without explanation. SET-RANGE is clipping numbers that go too far outside a given range. Suppose we want to have between 8 and 15 almonds in our musli. But we are not sure if the variable NUM-ALMONDS is having a good range that honors this quantity. Above 15 should become 15, under 8 should become 8. Then we can get the right number by something like NUM-ALMONDS >>> ; 8 ; 15 => SET-RANGE and if we want to put the possibly correct number back into the variable we may find, in a program, rather a statement like this, giving the sensous lip-like double parentheses much this content -- (( NUM-ALMONDS >>> ; 8 ; 15 => SET-RANGE NUM-ALMONDS < SETDANCE )) ((DATA MOVE-Y MOVE-Y => SETDANCE )) (LET SHOW-DANCER BE (( )) (( (( CLS )) (( MOVE-X >>> => >N5 )) (( MOVE-Y >>> => >N8 )) (( 500 ; N5 => ADD => >>V ; 200 ; N8 => ADD => >>V ; 510 ; N5 => ADD => >>V ; 200 ; N8 => ADD => >>V ; 450 ; N5 => ADD => >>V ; 600 ; N8 => ADD => >>V ; 1 => >>V => TRIANGLE )) (( 500 ; N5 => ADD => >>V ; 200 ; N8 => ADD => >>V ; 510 ; N5 => ADD => >>V ; 200 ; N8 => ADD => >>V ; 500 ; N5 => ADD => >>V ; 600 ; N8 => ADD => >>V ; 1 => >>V => TRIANGLE )) )) OK) (LET MOVE-AND-CHANGE-MOVEMENT BE (( )) (( (( MOVE-X >>> ; 100 => MUL ; 125 => DIV ; -400 ; 400 => SET-RANGE MOVE-X <>> ; 100 => MUL ; 125 => DIV ; -175 ; 0 => SET-RANGE MOVE-Y < >N9 )) (( KEYTOUCH (MATCHED (( KEYNUM => >N9 )) MATCHED) )) (( N9 ; 9 => EQN (MATCHED (( 162 => SG ; MOVE-X => ADDVAR )) MATCHED) )) (( N9 ; 8 => EQN (MATCHED (( 162 => MOVE-X => ADDVAR )) MATCHED) )) (( N9 ; 32 => EQN (MATCHED (( 444 => SG ; MOVE-Y => ADDVAR )) MATCHED) )) (( N9 ; 27 => EQN (MATCHED (( EXIT )) MATCHED) )) (( 110 => GOODPAUSE )) (( GOUP3 )) )) OK) (LET SOLINES BE (( )) (( (( }WELCOME! PROGRAM HAS LUCKY DANCE-KEYS, } ; }TABL, SPACE, BACKSPACE,} => CONCAT => POP )) (( }AND THE USUAL ESC-BUTTON TO EXIT.} => POP )) (( }MEDITATE, AND PRESS ENTER TO BEGIN!!!} => POP )) (( KEYNUM => RM )) (( GJ-ON )) (( DO-THE-DANCING )) (( GJ-DONE )) )) OK) (( LOOKSTK )) (LET AUTOSTART BE SOLINES OK)