Aristo Tacoma [[[ESSAY as at norskesites.org/fic3inf3/essay20110923.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.]]] DANCING AND LOVE-MAKING -- From a dancer to many dancers, in two-way connection with an audience, also of dancers [[[Please also get the 2 pictures as found at norskesites.org/fic3inf3/essay20110923-a.jpg norskesites.org/fic3inf3/essay20110923-b.jpg to view as mentioned within.]]] I am in a mood to care not how much I communicate, as that I pick the right words out of an ocean of not-so-right alternatives, whether it makes easy good sense on first reading in this society or not. Then I have in mind to come to a pluralisation of a program which we came with in last talk (publ. as essay20110920.txt). So if you are with me in this stream, there is more to come after this flow of consciousness, of program. And so -- let's pick the word "love". There is no restriction, I feel, in love -- as to what love can do, will do, when given the chance. Love is a law unto itself -- real love, that is, not the corny idea of it as set forth in patriarchical male-muscle dominated societies and their superstitious, ritual-bound customs and religious approaches. Love, as also sex, is the only thing which for sure is both entirely human and at the same time, if you look into it for a great while, in great depth, with all you have of intellect and intuition, science and the prosperity of meditative long walks and good conversations with friends at relative peace with themselves -- at the same time, then, as love is entirely human, it is also, by all this enquiry, entirely fantastically beyond the human sphere. Love is the pure, undiluted God-thing. It is a flame, burning anything too petty for its ravishing taste for elegance, beauty, greatness, and dance, in its wake. And so, in another perspective, dance cannot be dance without daring to call on love, and love cannot be its vulcano of truth without containing sex, and sex can contain anything -- but dance must still limit itself to what it can extract within the confines of trance-like, communicative, ecstatic elegance and poise. In going from a dancer to many dancers, we must not fall in love with the scheme, the strict coordination, but dare the improvised union of unfolding forms beyond thought also that -- though still within frames, pre-meditated, agreed upon, as a set resonance, and trained preparation. Then the many dancers communicate, in trance, at three levels, with an audience that ought to be, that have to be in order to really be an audience, an audience of those who also unfold as dancers, somehow -- albeit perhaps not that professionally, all of them. But dance is potentially the profession of every young longlegged girl, and for those whose sensation of the universe is that it is full of resplendent reincarnation always, there will be infinitely much dance, ever-more professional and ever-more amateurish in a good, loving, expert sense, for all. That is not to say that there are no other professions, and in another perspective, we can speak of the dance within every profession, and of every company, and so on. I mention this so as to allow the concept of dance to endeepen, while also retaining its wider senses, important to us all under all circumstances of free thought. At three levels, then, do the many dancers communicate, connect, with the audience. The connection is by nonlocality, it is by resonance, and it is by the lightness of fun (the spirit of joy). Nonlocality is the directness: truth touching truth. It requires greatness of both bodily perfection in a sheer anatomical sense, as well as meditative and hard dancing practise, to radiate that. Resonance is the empathic feeling level. These waves trigger intelligence, makes the human mind alert to greater potentials of itself, of life, of society, of wholeness, of art, beauty, sex, morality, whatever. But the third level, fun, is no less defining for the dance than the beach would be a beach without the sweet collisions of near waves against the sand. It is here the lightness of foot comes in. The human slender longlimbed girl would want to be as a muse and defy a bit of gravity at will but cannot; yet she knows it happens subtly, beyond the human level; and she must be at ease with her human condition but hint at that otherness in a spirit of fun, a fun that could fail but is too excellent to do so. The dancers do not know what they have communicated. If they know, they do not know. For the mystery must be retained; the myth of the reason of why it had this shape rather than that is but a myth of creation of the event, it is not the event, neither its cause nor its effect nor its conceptual overlay. For the superstructure of dance is as the hologram of consciousness: it is neither determined by the dance, nor shown fully by the dance, just as consciousness is neither determined by the brain, nor shown fully by the brain. So do not be embarrassed by nonknowingness: but do not go boasting about it either, nor use it as excuse to avoid studying texts and other works worth studying. And so let's pick a tiny bit of one aspect of what is said, and enlarge on the program with the elegant slim two triangles, so slim they are hardly more than lines, so it does this: by M you get more dancers, and by N you go to next dancer, and the next, and the next, in a matrix where you can rule them all, by the same keyclicks as in the earlier program, SOLINES. Let us call this MLINES. The matrix will have the position of each, and since we are going to have many, we will make each dancer as symbolised with the extreme formal simplicity here, in this little Lisa GJ2 Fic3 program (or f3 program), smaller than in SOLINES. Also, then, we will not move each back so fast to the centre. If you notice in that earlier program it says something like multiply with 100, and divide on 125, or ; 100 => MUL ; 125 => DIV ; which is a whole number way of saying, divide on 1 and a quarter. It gives a reduction of the number much less than, say, a division by 2. But we are going to make it slower and this is naturally belonging together (concatening well, we might say) with having them smaller -- as if you view them with just a bit more distance. In SOLINES, a perhaps unexplained word is KEYTOUCH. It is used when you want movement to go on even though, or at least sometimes also when, there is no action on the keyboard. It gives a letter on the stack -- a single letter which is a 'y' or an 'n' depending on whether a key has recently been pressed and will be passed on to KEYNUM or something such as KEYNUM (it can for instance also be KEY, or, in the graphics mode when function keys such as INS, DEL or the like are going to be accessed, there is, as the MTDOC manual can tell, such as FKEYNUM). Another word, perhaps not explained in last talk, but used in SOLINES, was SETDANCE. This means, in f3, set to 1. Dance is number 1. SETDANCE is setting a variable to the first number. It is in contrast to SETBASIS, which means setting a variable to 0, to zero, if you have to spell it that way. In earlier talks, we have talked about (COUNT .. COUNTUP), which in contrast to GOLABELn .. GOUPn loops a certain number of times exactly, a number given, typically, on the line before (COUNT. It can be given indirectly, by means of a variable. Here, this variable will be how many dancers we have symbolically got onto the symbolic dance stage. A variable can be increased in value by ADDVAR, or if this value is negative -- such as when the word SG, short for 'sign this number', has been used, the ADDVAR will reduce the value. I assume that when the dancer / choreographer presses M on the keyboard, we will increase a variable called something like MANY-DANCERS by exactly one each time, and this can be achieved by the simpler function INCVAR. The GOLABELn .. GOUPn is a loop of the type which is typically exited by using the word EXIT inside a (MATCH .. MATCHED), as in the earlier SOLINES program, and I suppose we will keep on the same here, in MLINES. In each function -- and only WITHIN a function, that is, within a (LET .. BE and a OK) type of thing, we can have these GOLABELs and GOUPs, but only numbered from 1..4. We do not want a spagetti of them, so in order to keep the structure simple, maximum four is allowed within each little function or program or definition or whatever we call it -- within each (LET .. OK). But as a larger program contains many smaller programs within it, or smaller definitions, each one can have up to four such GOLABELs within it. The manual can also tell that GOFORWARD is used when the GOLABEL is further beneath in the function, instead of GOUP. So I hope that, while this is not strictly speaking any tutorial on f3, that I have at least briefly mentioned just about every bit used of f3, so far. There is one new big thing with MLINES, compared to SOLINES and the earlier 3 essays, and that is the use of a completely real, wonderful matrix to control the dancers. It sounds like a scifi story, a matrix to control the dancers. This is how to make it: ((DATA THE-DANCERS 2 ; 58 => RAM-PM THE-DANCERS <>> => & )) (( .. 1 ; 32 ; # => PM )) (( .. 2 ; 32 ; # => PM )) (( .. 1 ; 33 ; # => GM => >N1 )) (( && )) All this use of # is shorthand for the long beautiful name of the matrix, since the # symbol, also called the 'number symbol', certainly looks more like a matrix than anything else. So the above -- which contains imagined sentences, and there could be many more -- is another way of writing (( .. 1 ; 32 ; THE-DANCERS >>> => PM )) (( .. 2 ; 32 ; THE-DANCERS >>> => PM )) (( .. 1 ; 33 ; THE-DANCERS >>> => GM => >N1 )) In other words, the phrase => & is good enough to store a variable, and it stores it, naturally, on what is called 'the variable stack', which we have touched on briefly, but just briefly, in connection with the word TRIANGLE and in connection with the fluctuation generation word FR. And the phrase && is good enough to tell the programming language that we are done for now, thank you very much, with this use of the variable stack. This is quite often the completing line within a definition (or found just before where it says EXIT, when it exits from within the function) that uses matrices. There are also phrases such as ## and ### to handle more than one matrix inside one function. (The LIGHT3D and indeed most programs that save anything complex to a disk file, including the business space in-built program SPC use matrices much -- and they are REALLY easy to save to disk, just use the word PM2FILENUM, read manual about it when you have the time). Have I lost you all, talking this much technicalities? Or did anyone find it a relief, compared to the heavy meditational insight-bearing stuff? But I try and do things so that they will be worth the while going back to sometimes a great deal later, also, rather than just catch the moment, so to speak. Completeness, though sometimes making things heavier in the short run, creates deeper communication in the long run. But you have to be patient. [[[Look at ../fic3inf3/essay20110923-a.jpg here & now]]] [[[Look at ../fic3inf3/essay20110923-b.jpg here & now]]] }* MLINES.TXT WRITTEN BY A.T. with L.A.H., }* }* Yoga4d.org/cfdl.txt copyright -- redist. }* }* For essay20110923 in fic3inf3. }* ((DATA THE-DANCERS 2 ; 58 => RAM-PM THE-DANCERS < SETDANCE )) ((DATA MOVE-X MOVE-X => SETDANCE )) ((DATA MOVE-Y MOVE-Y => SETDANCE )) (LET SHOW-EACH-DANCER-TOGETHER BE (( )) (( (( MOVE-X >>> => >N5 )) (( MOVE-Y >>> => >N8 )) (( 500 ; N5 => ADD => >>V ; 500 ; N8 => ADD => >>V ; 503 ; N5 => ADD => >>V ; 500 ; N8 => ADD => >>V ; 490 ; N5 => ADD => >>V ; 600 ; N8 => ADD => >>V ; 1 => >>V => TRIANGLE )) (( 500 ; N5 => ADD => >>V ; 500 ; N8 => ADD => >>V ; 503 ; N5 => ADD => >>V ; 500 ; N8 => ADD => >>V ; 500 ; N5 => ADD => >>V ; 600 ; N8 => ADD => >>V ; 1 => >>V => TRIANGLE )) )) OK) (LET SHOW-ALL-THE-LOVELY-DANCERS BE (( )) (( (( THE-DANCERS >>> => & )) (( CLS )) (( QUANTITY-DANCERS >>> (COUNT (( 1 ; N1 ; # => GM MOVE-X < GM MOVE-Y <>> ; 1000 => MUL ; 1008 => DIV ; -475 ; 475 => SET-RANGE MOVE-X <>> ; 1000 => MUL ; 1006 => DIV ; -475 ; 0 => SET-RANGE MOVE-Y <>> => & )) (( THIS-DANCER >>> => >N9 )) (( MOVE-X >>> ; 1 ; N9 ; # => PM )) (( MOVE-Y >>> ; 2 ; N9 ; # => PM )) (( QUANTITY-DANCERS >>> (COUNT (( 1 ; N1 ; # => GM MOVE-X < GM MOVE-Y <>> ; 1 ; N1 ; # => PM )) (( MOVE-Y >>> ; 2 ; N1 ; # => PM )) COUNTUP) )) (( && )) )) OK) (LET MAKE-MORE-DANCERS BE (( )) (( (( 58 ; QUANTITY-DANCERS >>> => INTGREATER (MATCHED (( QUANTITY-DANCERS => INCVAR )) (( QUANTITY-DANCERS >>> THIS-DANCER < SETDANCE )) (( MOVE-Y => SETDANCE )) MATCHED) )) )) OK) (LET FOCUS-NAVIGATE-NEXT-DANCER BE (( )) (( (( THIS-DANCER => INCVAR )) (( THIS-DANCER >>> ; QUANTITY-DANCERS >>> => INTGREATER (MATCHED (( THIS-DANCER => SETDANCE )) MATCHED) )) (( THIS-DANCER >>> => >N9 )) (( 1 ; N9 ; THE-DANCERS >>> => GM MOVE-X <>> => GM MOVE-Y < >N9 )) (( KEYTOUCH (MATCHED (( KEYNUM => >N9 )) MATCHED) )) (( THIS-DANCER >>> => >N1 )) (( 1 ; N1 ; THE-DANCERS >>> => GM MOVE-X <>> => GM MOVE-Y < EQN (MATCHED (( 150 => SG ; MOVE-X => ADDVAR )) MATCHED) )) (( N9 ; 8 => EQN (MATCHED (( 150 => MOVE-X => ADDVAR )) MATCHED) )) (( N9 ; 32 => EQN (MATCHED (( 150 => SG ; MOVE-Y => ADDVAR )) MATCHED) )) (( N9 ; 77 => EQN ; N9 ; 109 => EQN => ORR (MATCHED (( MAKE-MORE-DANCERS )) MATCHED) )) (( N9 ; 78 => EQN ; N9 ; 110 => EQN => ORR (MATCHED (( FOCUS-NAVIGATE-NEXT-DANCER )) MATCHED) )) (( N9 ; 27 => EQN (MATCHED (( EXIT )) MATCHED) )) (( 50 => GOODPAUSE )) (( GOUP3 )) )) OK) (LET MLINES BE (( )) (( (( QUANTITY-DANCERS => SETDANCE )) (( }WELCOME! MLINES IN f3 HAS THESE LUCKY DANCE-KEYS: } ; }TABL, SPACE, BACKSPACE, AND} => CONCAT => POP )) (( }M OR m FOR MORE DANCERS, N OR n TO NAVIGATE NEXT,} => POP )) (( }AND ESC TO LEAVE FIEST.} => CONCAT => POP )) (( }WARM UP, AND PRESS ENTER TO RELISH!!!} => POP )) (( KEYNUM => RM )) (( GJ-ON )) (( DO-THE-DANCING )) (( GJ-DONE )) )) OK) (( LOOKSTK )) (LET AUTOSTART BE MLINES OK)