Aristo Tacoma [[[ESSAY as at norskesites.org/fic3inf3/essay20111009.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.]]] CULTIVATING THE FLOW OF GENEROSITY AND PLURALITY -- with a tight program symbolizing independent dancing of twenty dancers, interactively influenced by you [[[Please also get the 2 pictures as found at norskesites.org/fic3inf3/essay20111009-a.jpg norskesites.org/fic3inf3/essay20111009-b.jpg to view as mentioned within.]]] Every young girl ought to know something about what we can loosely call "beautiful action", not just how to smile beautifully, dance beautifully, walk beautifully or pray beautifully. Beauty is not a fixed concept in that it can hold also fierce sexual BDSM light violence and a beautiful action can also be playfully arrogant, at times. Like elegance, it is a lofty goal, an aspiration, and it requires some genius in the moment to achieve it, and sometimes more so than at other times. So let us together explore the beautiful action. Shall we? You know, the type of action that doesn't leave a bad taste in the mouth, when mulled over afterwards for a week to end: but the type of action that stands out as a piece of generous art, all on its own warping the personalities of those present to a more exalted level. For instance, you assist some girl-friends of you in getting nice photographs of them taken: you point out valuable thoughts to think while they are being photographed, and what to emphasize and interesting angles. Why should you help a pretty, a really pretty girl-friend of you, to get produced of her a photograph that outshines the best photos you have seen of yourself? Because it is a beautiful action -- it is part of your radiance, your beauty radiance, that you don't stop yourself from emphasizing the plurality of the presence of beauty in this world. It is going beyond self-centeredness, beyond egotism. You are stimulating generosity and plurality, their flow. But why is this important? Because either you are partaking in allowing what's beautiful to blossom around you and with you, or you have a shadowy zone of bad-taste action around you. Nobody wants such a zone, and nobody with great interesting energies want to go into such a zone. So it is choosing life, out of the two options life -- or absence of life. No human being possess more than some types of beauty. So generosity, encouraging good genes, as it also means, and encouraging the beautiful genious within yourself and others, as it also means -- must mean that you are generous not just to the type of beauty you yourself possess, -- but, then, ALSO to that type. Just as coffee is a generosity to your creative bubbling approach to the day, and B12 and adequate mineral and vitamin supplements contribute to the dancing ease with which your muscles move, and as skinniness is a generosity to showing the best of your genetic potential, and a generosity to your own sensitivity (for even mild amounts of extra fat clogs the nerves and makes for sluggishness, diminishing intuition capacities), so you can find many ways of being generous to the beauty that you yourself, with your present body so to speak, represent. But socialness is part of mingling in fun ways with others so as to quickly combat own inner tendencies to be overly cunning, to try and shoulder other people away if they could compet for favours with you from interesting attractive third persons (or fourth, fifth, sixth persons). This fun means that your smile, your beautiful smile is genuine, that it doesn't hide an agenda to push away people who do not directly benefit you. So this requires courage: the courage to cultivate the flow of generosity and plurality. With this little pep-talk behind ourselves I suggest we will now ground ourselves in a bit of sweet'n'tough formal work. In f3, in the Lisa GJ2 Fic3 programming language, you know, we will make a little model, a slight illustration of some features of what we are talking of. For instance, we are talking of beauty, and beauty involves purities of twinkling symmetries and rhythms and going beyond rhythm, and in one earlier exploration, one of the first in this series, we find some comments on golden ratio, where you also find the numbers 55 and 34. You find a proper g-string before you go and get your beach work-out, unless you do it in the nude: and this g-string, properly pulled up and properly shaped for you, might find several proportions along the lines of 5 to 3 or 8 to 5 or, rather most precisely, 55 to 34, which, for deeper reasons, are tantalizing to the viewers. Getting your photonic nutrition -- artificial sunlight, or solarium, during cloudy days means also that your body will attain to a gleam that will more easily convey attention over to such ratios, for the gleam conveys a sense of otherworldliness and infinity much sought for in sex and dance. In other words, you relate to your own body as an artwork for whom you have a principal care, and looking to some proportions to the millimeter is part of the discipline of the artistic/dancer you have to be. Generosity, then, involves being consciously a bit stupid as to what an otherwise too-selfish cunning person might have done in similar circumstances. The too-selfish person is not generous to beauty. So some kinds of stupidity befits beauty and fun and fiests and dance, and allows for plurality; whereas the overly cunning person becomes cemented in loneliness when trying to calculate the attractions of others. In any case, these golden ratios, let's use them very symbolically to indicate you and other folks. We will make a line and indicate mildly, with a slight crossing line, the 55 to 34 ratio more or less, somewhere on the high point of it -- rather like the hips over the long legs, nearer the top of the whole of the body. Then, plurality. Let us see whether we could make some kind of motions of several -- at a venture, let's say twenty people symbolised -- and somehow independent enough for each. We could make a note of the X and Y -- the horisontal and vertical position -- for each, in that which we call a matrix. We vary the values a bit freely, I suppose, checking that the value of X and also the value of Y is always ISPRO -- namely, that the number is positive ("professional"), that is to say that it is 1 or higher. And then X varies up to 1024, and Y varies up to 768, and it is often good to keep a bit off the edges, so we don't get partial drawings. The X goes horisontally on the standard bright green dance or fiest space, with the number 1024 representing the right side. The Y begins with 1 on the top line and proceeds to 768 which is entirely at bottom. So often, you will see that calculations on Y will involve that one does something like 768 ; N1 => SUB or, half of it, 384 ; N1 => SUB (see the previous essay), which is to say that the number is substracted from another number before we do further calculations. In that way, a higher number will be higher up on the screen, which is sometimes easier to think with. And f3 is supposed to be programs that are easy to think with, and easy to think at when we make them, and look at them afterwards. It sharpens your mind, makes parties and humour more fun, for you know a bit of logic. When something has been compared -- say, when you compare what has been typed at the keyboard as for letters or digits, with a particular letter or digit -- as in this phrase (( KEYTOUCH (MATCHED (( KEY ; :N => TEQ = ACT-ON-LETTER-N == :W => TEQ = ACT-ON-LETTER-W == :X => EQ = EXIT === === === )) MATCHED) )) -- after a comparison -- which we can do with such as, for letters, EQ or TEQ, and for numbers, with such as EQN or T, it is normal that a certain action can occur when the comparison works out. This is what follows immediately after a = and before the == or before the ===, or immediately after a (MATCHED which is the synonym to the equal-sign =, with )(OTHER the synonym to two equal-signs ==, and MATCHED) the synonym to three equal-signs ===. I'll explain the details of the above phrase in a moment, the one that begins with the KEYTOUCH. But I think we ought to have mentioned here, as this might have not been mentioned all the much earlier on in this series, that you can compare several things and put these comparisons together with ORR, which is short for 'accept-this-OR-that'. You can, as an alternative, put several comparisons together with AND, which is short for 'accept-only-when-both-this-AND-that-is-true' -- and you can switch them, negate them, turn them around by the word NOT. So AND, NOT and the three-letter word ORR, the extra R thrown in so that they are all three-letter words, they are an important part of the logic of f3. You see more about them in the MTDOCS manual, if you look it up by typing the word WORD inside the language, when you have started up a Dosbox with f3, and typed F3 and then lineshift (ENTER) -- typing WORD and the another press on the ENTER-button opens the text MTDOC.TXT inside the B9 editor. Let me briefly say something about the phrase above, beginning with KEYTOUCH. When you have several things, or a long thing, or an important thing, to be done after something has been checked, then you normally put (MATCHED on one line, then put the things there, and then MATCHED) on another. Is anything pressed on the keyboard? That's important to know. If so, a whole block of lines are performed, otherwise they are just skipped. Within that block, we look at whether N, W or X are pressed. I have in mind that we are going to make a program so that N selects the next pretty girl, the next person symbolized, while W changes the types of movements this one does, and X exits the interactive graphics program completely, for now. So we get the key pressed by KEY -- we could have used KEYNUM, which is more flexible in that we can also pick out such as backspace (which is number 8) or tabl (tabulator, which is number 9), or esc (escape-button, which is number 27), but KEY gives an easier-to-read program when we are interested only in letters or any of the digit-keys 0..9 and similar such. So KEY leaves something, as we say, on top of the stack. We are going to compare it three times -- the completing time we want it removed from the stack, for we want to top of the desk clear for other activities done afterwards. So that's the difference between TEQ and EQ -- TEQ means 'Test for EQuality, but don't remove it', while EQ means 'check for EQuality, and then done with this item on stack' -- or something like this. So we could have put in several more TEQ there, but the completing one, in this case checking for X, is EQ. When you do several comparisons in a row, be sure that you count just how many = signs you use, and throw in a line of triple such, the === signs, after the whole lot. (In some rare cases you may want to divide them up and use this flexibility to create jumping here and there inside a function during such comparisons, that's why Lisa GJ2 Fic3 wants you to put in the === yourself instead of having provided you with a single word to sum them all up. But be sure you count that you have got every = matched with a ===, no matter how many == you have used, or there may be peculiar behaviours of the program when you try and start it up. Some of these counting things may be catched by putting in more of the line (( LOOKSTK )) between functions, but not all such things are located by the word LOOKSTK. The word LOOKSTK doesn't change the behaviour of your program no matter how many times you put it in, as long as it is outside of your functions -- just before the (LET lines. To compare a single letter or single word we can write the letter with a colon up front, such as :N or :W or :X, but we can also write }N} or }W} or }W}, which is the form of putting stuff when we print a sentence to the screen, graphically. When you have started up the graphics screen with GJ-ON, and before you have completed the program with GJ-DONE, you can do stuff like (( CLS )) (( }Welcome! I love you!} ; 200 ; 400 => B9-POP )) (( }What's your name, by the way?} ; 100 ; 500 => B9-POP )) (( 30 ; 100 ; 600 => B9-READLN ; )) (( ; }.. is a nice name!} => CONCAT ; 10 ; 10 => B9-POP )) (( 5 => SECS )) You see that B9-POP wants a text, then the X (up to 1024 in horisontal coordinate) and the Y (up to 768 in vertical coordinate), and puts the stuff there in the B9 font which is made for f3 by the undersigned. The B9-READLN in this case reads a name up to 30 characters long, at position 100 and 600 for X and Y. The word CONCAT makes a good combination of two: in this case, the name just typed in and "..is a nice name". And the word SECS takes a number into it and creates a pause. This is the same as 5000 => GOODPAUSE. When you suddenly get a shining idea, you might say that the idea just warped into your mind. A warp is a pleasant, right, wholesome, coherent sudden jump of events or of situation -- also the things that spaceships do, the real Gracejintu spaceships. However, one doesn't want to warp except in Anaiis Blondin's world to between the solar systems, for although it is exciting to some extent as fantasy, the coherence of life, of body, and of mind to some extent, is tied up subtly with gravitational active models (super-models, in the supermodel theory) that are too different for life to persist cleanly outside of the solar systems. This very subtle effect on life is ringing strong: lingering between the solar systems for an advanced biological organism would rip it apart from within. This is not experienced in weightlessness zones inside a solar system, because a sun has a subtle coherence field going far outside the gravitational range of its planets. In any case, warping is a beautiful thing when done healthily. Inside a computer model, the warp is what moves behind the scenes when you do ANY program, and let's make it explicit. When you need to warp, you need a warp-address. So if we make variable called just that, such as by ((DATA WARP-ADDRESS )) then we can also put something into this variable. Let us say that each dancing chick of our twenty simultaneously dancing beauty chicks -- sounds nice, eh? -- are doing EITHER horisontal dance, OR vertical dance, OR what we can call 'free' dance, a warp, so to speak, from anyhwere to anywhere at the dance floor. The letter N can select who of the twenty we focus at -- let's get a rectangle, which we can make by the word RECT given two pairs of X and Y to it, and a green value, which can be 1 (which usually is the black, unless we have turned it around -- to switch around read about PUTPAL and WRITEPAL and such in the MTDOC manual) -- so that the rectangle always shows who is in focus. Then W can change the type of actions, the types of dance. (LET DANCE-TYPE-X BE ... OK) (LET DANCE-TYPE-Y BE ... OK) (LET DANCE-TYPE-W BE ... OK) We will somehow make these three functions, these three dance-motions, all very symbolically don't you know. Then we will feed any one of the three into WARP-ADRESS by some statement of this kind: :DANCE-TYPE-X => ? WARP-ADDRESS < ? WARP-ADDRESS < does nothing, merely tells us what moves where. The ? goes looking for what have been defined as functions, such as by (LET higher up in our program. Then WARP-ADDRESS <>> => HYPERCONNECT Or, the shorter version, WARP-ADDRESS >>> => H The beauty of this is that we can store a whole lot -- indeed, twenty, in this case, of warp-addresses, and save us a lot of comparisons and (MATCHED .. MATCHED) stuff when we want each individual dancer to do her own good thing as best she can. Good luck!!! [[[Look at ../fic3inf3/essay20111009-a.jpg here & now]]] [[[Look at ../fic3inf3/essay20111009-b.jpg here & now]]] }* DANCE20.TXT WRITTEN BY A.T. with L.A.H., }* }* Yoga4d.org/cfdl.txt copyright -- redist. }* }* For essay20111009 in fic3inf3. }* ((DATA WARP-MOVES-DANCER-ABOUT )) ((DATA DANCER-ENLIGHTENED DANCER-ENLIGHTENED => SETDANCE )) ((DATA ANARCHISTIC-TOTALITARIAN-MATRIX 3 ; 20 => RAM-PM ANARCHISTIC-TOTALITARIAN-MATRIX <N5 >N3 )) (( (( N5 ; 34 => ADD => >N8 )) (( N8 ; 55 => ADD => >N10 )) (( N3 ; N5 ; N3 ; 4 => ADD ; N8 ; 1 ; 0 => DOTTED_RECT )) (( N3 ; N8 ; N3 ; 4 => ADD ; N10 ; 1 => RECT )) )) OK) (LET DANCE-TYPE-X BE (( )) (( (( ANARCHISTIC-TOTALITARIAN-MATRIX >>> => & )) (( 1 ; DANCER-ENLIGHTENED >>> ; # => GM ; 20 ; 40 => FUNNYRFFG => SUB => ADD ; 50 ; 950 => SET-RANGE ; 1 ; DANCER-ENLIGHTENED >>> ; # => PM )) (( && )) )) OK) (LET DANCE-TYPE-Y BE (( )) (( (( ANARCHISTIC-TOTALITARIAN-MATRIX >>> => & )) (( 2 ; DANCER-ENLIGHTENED >>> ; # => GM ; 25 ; 50 => FUNNYRFFG => SUB => ADD ; 30 ; 500 => SET-RANGE ; 2 ; DANCER-ENLIGHTENED >>> ; # => PM )) (( && )) )) OK) (LET DANCE-TYPE-W BE (( )) (( (( ANARCHISTIC-TOTALITARIAN-MATRIX >>> => & )) (( 900 => FUNNYRFFG ; 50 => ADD ; 1 ; DANCER-ENLIGHTENED >>> ; # => PM )) (( 500 => FUNNYRFFG ; 30 => ADD ; 2 ; DANCER-ENLIGHTENED >>> ; # => PM )) (( && )) )) OK) (LET ACT-ON-LETTER-N BE (( )) (( (( DANCER-ENLIGHTENED => INCVAR )) (( DANCER-ENLIGHTENED >>> ; 20 => INTGREATER (MATCHED (( DANCER-ENLIGHTENED => SETDANCE )) MATCHED) )) )) OK) (LET ACT-ON-LETTER-W BE (( )) (( (( ^3 FR GETV => >N11 )) (( N11 ; 1 => EQN = }DANCE-TYPE-X} ; === )) (( N11 ; 2 => EQN = }DANCE-TYPE-Y} ; === )) (( N11 ; 3 => EQN = }DANCE-TYPE-W} ; === )) (( ; => ? WARP-MOVES-DANCER-ABOUT <>> ; 3 ; DANCER-ENLIGHTENED >>> ; ANARCHISTIC-TOTALITARIAN-MATRIX >>> => PM )) )) OK) (( LOOKSTK )) (LET ASSERT-GENEROUS-PLURALISTIC-THREESOMENESS BE (( )) (( (( ANARCHISTIC-TOTALITARIAN-MATRIX >>> => & )) (( 20 (COUNT (( N1 DANCER-ENLIGHTENED <>> => H )) )) OK) (LET DRAW-NICE-SQUARE-AROUND-HER BE (( >N9 >N8 )) (( (( N8 ; 10 => SUB => >N4 )) (( N9 ; 15 => SUB => >N5 )) (( N4 ; 20 => ADD => >N6 )) (( N5 ; 95 => ADD => >N7 )) (( N4 ; N5 ; N6 ; N7 ; 1 => RECT )) )) OK) (LET SHOW-WHO-IS-FOCUSSED-ON BE (( )) (( (( ANARCHISTIC-TOTALITARIAN-MATRIX >>> => & )) (( 1 ; DANCER-ENLIGHTENED >>> ; # => GM => >N1 )) (( 2 ; DANCER-ENLIGHTENED >>> ; # => GM => >N2 )) (( N1 ; N2 => DRAW-NICE-SQUARE-AROUND-HER )) (( && )) )) OK) (LET LET-ALL-THE-20-DANCERS-HAVE-A-GOOD-TIME BE (( )) (( (( ANARCHISTIC-TOTALITARIAN-MATRIX >>> => & )) (( DANCER-ENLIGHTENED >>> => >N8 )) (( 20 (COUNT (( N1 DANCER-ENLIGHTENED < GM WARP-MOVES-DANCER-ABOUT < GM ; 2 ; N1 ; # => GM => SEXY-DANCER-SHOWS-HERSELF-FULLY )) COUNTUP) )) (( N8 DANCER-ENLIGHTENED < B9-POP )) (( }Symbolic DANCE20! Anarchistically I love you!} ; 200 ; 400 => B9-POP )) (( }What's your name, by the way?} ; 100 ; 500 => B9-POP )) (( 30 ; 100 ; 600 => B9-READLN ; )) (( ; }.. is a nice name!} => CONCAT ; 10 ; 10 => B9-POP )) (( 5 => SECS )) (( GOLABEL3: )) (( CLS )) (( KEYTOUCH (MATCHED (( KEY => UPCM ; :N => TEQ = ACT-ON-LETTER-N == :W => TEQ = ACT-ON-LETTER-W == :X => EQ = GOFORWARD1 === === === )) MATCHED) )) (( LET-ALL-THE-20-DANCERS-HAVE-A-GOOD-TIME )) (( 333 => GOODPAUSE )) (( GOUP3 )) (( GOLABEL1: )) (( DONE-GRAPHICS )) (( CRLN )) (( }YOU HAVE FUN MOTIONS!!!} => POP )) (( XO )) )) OK) (( LOOKSTK )) (LET AUTOSTART BE DANCE20 OK)