Aristo Tacoma [[[ESSAY as at norskesites.org/fic3inf3/essay20111014.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.]]] AN EXPLORATION INTO CONTRASTS AND DIALOGUES -- With a small interactive mouse-operated Lisa program that illustrates some kinds of contrasts and perception [[[Please also get the 2 pictures as found at norskesites.org/fic3inf3/essay20111014-a.jpg norskesites.org/fic3inf3/essay20111014-b.jpg to view as mentioned within.]]] In these informal workshops -- which are, I suppose, much what any decent teacher having a class of teen thinkers and some computers would dream to have as background material for discussions and explorations on the computer (thereby these essay-forms, with Lisa GJ2 Fic3 programs you can play with freely using any standard computer properly set up with the normal Dosbox as indicated at www.norskesites.org/fic3) -- we must never assume the position of dogmatists. What we say must leave room open for further exploration. In the same spirit, nobody ever does a 'mistake' in a classroom when it comes to programming or asking questions or proposing something or drawing or such. A teacher has an obligation to cast forth entusiasm. She must do so also when there is less than excellent action of her pupils, as often will be the case. She must then be able to beam positive relaxing soothing joyous playful energy, having dressed well, being clean and having a refreshing, sexy scent and good looks, and she must have a way to offer, in the spirit of optimism, a golden nugget of learning that addresses some of the less than excellent actions (but not all of them, for that would be irritating, again). And so the sexy school teacher should be able to say something like this: -- Look, that's wonderful, and it is good for now. I can, however, give you a nudge, here, and say that NEXT time on, you want to do it slightly more so and so.. And then the sexy young refreshing school teacher, who plays also on her young body language to entice her pupils, and must do so absolutely unashamedly but also self-critical enough to be aware of whether it really works or not, in the learning situation, she must tell her young charming female pupils that when she gives such a gentle push or "nudge", as we call it, then she hopes that it is received with a smile, and perhaps even a kind of standard comment, most of the times -- along these lines: -- thanks, that's a lovely nudge. Or: -- that's wonderful nudge. -- that's a good nudge, teacher. When said with a smile and not as a habit, then the brain and the soul levels and such are permeated with a learning joyous playful capacity which is far greater than that of trying to memorise something in a state of boredom. And so a school teacher, I feel, should also address questions of how to raise spirits at home -- fun things to do, sexy things to do, and one mustn't have any qualms alongside quasi-puritan 20th century sexual morality but rather wake up to the fact that the greatest of positive emotions go alongside the most deepest moments of learning. One must use what one has got to learn. In this little exploration, I suggest also that we wake up to the liveliness of the word "contrast" -- its significance, this concept. Now let us, in this workshop, explore lightly what it means to us, in the sense of beginnings, or furtherings of earlier explorations, and to leave as it were a "datum" for future explorations. Just some initial questions, or remarks. This is, then, a dialogue within our minds, and a good teacher doesn't speak in closing ways about themes which ought to be open. What is the role of contrasts? When you have a dialogue, obviously, there is a sense of two, three, four, five, many people, many viewpoints, many experiences, and meaning flows between all this and beyond and into and back. A secterian person, in contrast, is one who insists on a certain combination of words, a certain set of plus-words and a certain set of minus-words, and who try to make a formula out of the English language. Perhaps the person of great faith in God will say: let us have some foundations, please, not dialogue about everything, all the time, so that we are left faithless -- and, yes, I agree -- keep a contrast between what you have a dialogue upon, and what you prefer to leave for now. This is also a key to keeping practical collaboration going between people who have agreed to collaborate, when one or some of them starts getting over-annoyed with something or with another person somehow. The more of these folks who remember to keep dialogue over friendly, practical things, and not let it creep into deeply emotional and, for some, deeply upsetting things, the more the collaboration can proceed and develop and exhibit something harmonious relative to the greater society. Then, in private meditation, and by using such as the Eliza one-line interactive panel for some synchronistic friendly spiritual reminders -- a kind of dialogue with oneself, in privacy -- and by the mode of shadow boxing in stamash -- and walking -- and music -- and listening to short stories read up in radio -- the brain can wash itself, the soul and spirit levels can cleanse themselves of the debris of tension in daily practical collaboration with people of bad temper. So contrast perception is part of what spiritual life is about, that one doesn't try and make a soup of everything, mixing it all. Holism must involve contrasts, good contrasts, good rhythms. Contrast is not only between two but can be at several levels at once. It plays together with similarities in order to have something stand out. The mantra-muse sur- name as I've coined as Salinger can be said to be a combination of the two concepts of salient and lingering, which is the exact effect of meeting one or two or three among many who stands out -- saliently! -- as extremely (indeed infinitely, perhaps) sexy, and who therefore, in consciousness lingers as afterglow, afterwards. So the top muses, the Salinger sisters, are different in some light ways -- by means of contrast -- but similar in being the penultimate of beauty in an infinity going beyond human standards. The most beautiful of human girls would attain to deeper radiance if they clearly reminded themselves of the absolute cliff between the beauty humans can achieve, and that which indeed is achieved by these subtler beings. So what is contrast meaning to you when you choose sexual partners? Do you choose sexual partners who are in contrast to you, somehow, or similar? Or both? Or in various ways? So some show you more of yourself and at times that evokes something important in your insights into life and also your own body, but some allows you to sexually essence-feel some forms of beauty which are lightly complementing your own, stretching your mind and body-feeling in a different dimension. And so the contrast between bare-footedness in dance, and a dance which uses the sometimes shocking elegance of high-heeled spiking shoes, can be sought in art. Contrast has to be felt as part of the exploration of wholeness, in short. A contrast between the unfolded substance we sense and the idea of the whole number, such as 1, 2 and 3, up to perhaps about one billion or about 1,000,000,000 -- a thousand million -- technically spoken of often as within the so-called 32-bit number range (since the number two, for 0 and 1, multiplied with itself 32 times do give a number just somewhat bigger than this, and this is extremely practical in organising all of first-hand-sized personal computers running the f3 language) -- such a contrast between quality of form and quantity as expressed by these digits can trigger new perceptions. When you say, "My birthday is today", I suggest that the interpretation of this sentence is this: You have great, deep meditations, to an extent that you feel entirely new in essence, radiantly and happily filled with wholeness and with much AMFAP, As Much Faith As Possible, speaking of meditation, God, the higher beings. So I think it is enormously important to clip away any tendency to identify a person or a body by means of numbers counting seasons or years from some kind of date. This is an impractical and false and misleading grouping of people. People are so very much more than what can be in any way subsummated under a counting of months or years. Forget it. Use numbers more freely. A birthday, then, is a day -- any day, you can have many each month -- of great new deep inner meditations. Sex, and multiple orgasms, can also be meditation. So these things are best honored by restricting any identification with numbers. To loose up any attachment, any over-identification with numbers, let us make, for fun, a new type of number. These are going to work so that we also get them into our program, so that we type any ordinary number from 1..81, that is to say, any ordinary number that goes from 1 and up to 3 times 3 times 3 times 3, or 9 times 9 -- nice numbers, indeed! -- and we get a new number format representing the same number by means of four digits which all are 1, 2 or 3. For instance, 81, the highest number, is written in our new fun number format as 3333. The least number 1, is written in our new format as 1111. This is something we can do entirely systematically, you see. Then in a workshop we just had, we had a number of not uninteresting-looking mosaic stones. The diversity of them impressed me, when I looked at them. Each type has indeed four sides of each three different line types, more or less like <, I or >, which in the program was called type 1, 2 and 3. So I propose that we illustrate a couple of bits of what we have talked about by having first a text screen where we convert any number 1..81 to the 1111.3333 format, and then construct a big mosaic-stone looking like this this number -- and allow background green tone or tonation and foreground also to be varied rather seamlessly and flowingly by vertical and horisontal movements, respectively, of the mouse pointer. In this way, we will experience several forms of contrasts -- number format of ordinary type, number format of unusual creative type, visual form of the same, and a variety of contrasts and similarities of visual tones or color intensities on the computer screen -- connected to the contrasting use of the mouse by vertical vs. horisontal motions. Let's go ahead. If you look into the MOZ3.TXT program, which I'll clip some functions from, and elaborate here, you'll see that there is a function named something involving a "switch of direction" (we won't need it here, for we think a bit different about the line types here, in our soon upcoming program CAD19.TXT). This is something that turned out to be a good way of doing it -- since we are using PEN-DRAW to draw the stones, and we go from one line to the next line, then to the next, and all the way around the stone, using angles involving 3600 or ten times 360 to go all the way around, and PEN-LEFT to move the angle. So sometimes we go one direction on the screen and at other times the other direction, and we need to switch around the angles, switch a < to a > and the other way around, to get it all consistent, so we get the same type of line that we have decided no matter which way we draw. (To understand more about this, try to remove the call to the 'switch direction' function and see how different the program then works out, with half the lines being switched the wrong way.) Remember that, in f3, the => and the => => really do nothing but only tell us, who read the the f3 program or foramlism, what is the intended effect here. When we use two arrows we mean to say, this is output from the function. When we put a new value to a variable, we use <>> which can be pronounced "fetch". So the >>> actually does something, namely, to go deep into the computer memory to fetch a number or a warp. Then often, after this, we can put more => arrows to indicate what we want to use it for, or a semicolon ; to indicate that we stack some values up before we use them. When we use an array, made by %MAKE, or a matrix, made by RAM-PM, we get a ready-made thingy which all have the proper basis values in it (i.e., zero). A variable we usually will give an initial value to, with SETBASIS (to basis, i.e., zero) or SETDANCE (to 1). To check its value we can use VISBASIS or VISDANCE without retrieving it first (the letter 'V' stands for 'looking into the Variable'). Or we can retrieve it first, and put it maybe into any of the free eleven N1..N11 numbers we have on the simple stack, by >N1 .. >N11, and then retrieve it by simpling typing N1 or N8 or whatever, and compare with ISBASIS or ISDANCE (this time, then, without the 'V' since we have already retrieved the value using the >>> fetch earlier). The "switch direction" function in MOZ3.TXT uses a short-form of (MATCHED .. MATCHED), namely = and ===, and it also uses the alternative form, ==, which corresponds to )(OTHER. The = == === really means, then, do what is between = and == when there is a matching result, and do what is between == and === when otherwise. Let me also, by means of technical notes on f3, suggest that when, as Jeeves in P.G. Wodehouse puts it, "time is of the essence", it is more important to make sure that the computer doesn't repeat needlessly many cheks on things. By using not just = === or (MATCHED MATCHED) but an increased use of == or )(OTHER followed by additional = == === or (MATCHED )(OTHER MATCHED) inside one another -- in what we can call a 'nesting of levels' -- the computer will jump quickly to the correct position in the program, rather than needlessly repeat comparisons over and over, as can happen if one simply puts one (MATCHED MATCHED) after another several times in a row. Also, the use of N1 .. N11 is looking good but there are ways which can speed up the f3 program when enormous amounts of repetitions are required, such as in any LIGHT3D program. A program where time is of the essence will typically look a lot tougher to read but it doesn't mean that what it actually does is any really more intellectual. These notes just given may make more sense to those who have looked a lot into f3 programming already, so I keep them in essay form for reference, although they may not be so important for beginners in f3. Let us look very briefly at MOD and its use in making our new 1111 .. 3333 number type, showing numbers from 1 .. 81, and I'll give you the program and you can test it slowly and meditatively. One of the beauties of the function MOD is that it always works on making a big number smaller. For instance, if you get any huge Relatively Free Fluctuation Number, RFFG POP out on the screen inside F3 (type F3 and press ENTER while Dosbox has started up, then type RFFG POP and press ENTER). Repeat some times, you get huge numbers and it is not often in the universe you get any five similar right after one another. They are all 32-bit. Now try RFFG 27 MOD POP In a program text, we would have written this more neatly as (( RFFG ; 27 => MOD => POP )) but one of the great lovely beauties of f3 compared to most 20th century programming languages, and also most early 21st century programming languages, is this freedom of syntax and this enormous interactivity that allows quick checking prior to, or while, making a program line by line of how quite a few of its functions work. Each time you give a 27 MOD after a RFFG the number magically transforms itself to 0..26. If we want it to be 1..27, we add INC for "increment by one", like this: RFFG 27 MOD INC POP And so this is rather identical to ^27 FASTRFFG GETV POP Or, the more typical shorter version of this function name, ^27 FR GETV POP The funny ^ in front of the number means that we are calling on the exotic variable stack in this case, which is not an issue of content, merely of speed, in some cases of great looping where we may want to keep numbers as numbers on the variable stack. On the main stack, all is treated as a kind of text, and there are minute differences in speed, when there are tens of thousands of loopings and time is of, you know, the e. Also, 27 FUNNYRFFG POP is another way of getting a 1..27 free fluctuation number. The RFFG and FR uses one type of fluctuation, while FUNNYRFFG has a different -- contrasting -- type of fluctuation, not as evenly distributed. Use both in a games, their crossing effects are like two different music sources and give a sense of the arrythmic. Instead of 27 you can write 300 or 1000 or 1000000 or any 32-bit number, that is, any number up to about a billion, which is 1 followed by, as we know, nine basis-numbers (viz., zeroes, but I like the word 'basis' since there is so much false thinking around zero and also around infinity in 20th century number writing). So when we have two-bit numbers, they are like 01011101 and 11010101 and you get from two-bit numbers to the normal 0..9 type of number by doing a bit of 2 times 2 times 2. For instance, 111 is 2 times 2 -- plus 2 -- and then plus 1, whereas 101 is somewhat less, 2 times 2 -- then plus 1. So each digit, 0..1, multiplies itself with the value of the position, and the value of the rightmost position is just what it says -- 1 -- and the value of the leftmost position is 2 raised to the power of as many digits as one has in addition to the first position. This is something one can only really make oneself familiar with by several days of pretty much work, and I don't think my brief comments here really clear it much up for a beginner. But I wanted to give a sense of roughly how to think about these usual number formats, because it will make it slightly more meaningful, perhaps, even to the beginner, how we can make our new number format for this program. First of all, we have a mosaic stone with four sides each of which can have three types. So: three types x three types x three types x three types equals 81 different stone types. Each number, then, goes from 1111 to 3333, which indicates type 1 -- 1 -- 1 -- 1 up to type 3 -- 3 -- 3 -- 3. If you type in 1, the computer produces mosaic stone 1111, and if you type in 81, the computer produces mosaic stone 3333 -- viz., the stone that has type 3 line all over. Any number in between 1 and 81 gives stones like 1232 and 1312 and 1112. So to calculate this stuff, we must let the computer work around 1..3 by its more MOD-friendly format 0..2. The three digits 0, 1 and 2 will be used internally but we will do an INC just before showing it on each digit, so they look nicer, since also we have no type zero. But then, to calculate this stuff, we need to do a decrement, a DEC, on the input number. So if we give 81, for instance, we do 81 DEC and then we have to a series of MOD -- which is the "modulus" or "remainder" after a division. For instance, 10 5 MOD POP gives basis, zero, because there simply aint any remainder when we divide 10 to 5. It works fine, it gives 2 -- 10 5 DIV POP gives 2 -- and when we try it the other way around 2 5 MUL POP, we get 10, without any remainder. But 10 4 MOD POP should give something other than zero, right? For if we try 10 4 DIV POP we get the highest whole number that gives something as near as we can come to 10, without going higher. Since 3 times 4 gives 12, we cannot get 3. So by trying to divide 10 on 4 we get, not 3, but 2, when we deal with whole number, and there is a beauty in dealing with whole numbers in f3. We can also and indeed should also sometimes do decimal numbers on computers, but whole numbers is near to the heart of computers in essence. Leo Brodie originated the phrase, "The philosophy of integer arithmetic" -- it is a most apt phrase. It is like a mantra for godd programming. While Forth, which was made by Mr C Moore, is the language context he wrote this about, Forth is enormously different in that its main stack is number only, and that it has no equivalent to the eleven slots automatically alloted each function and accessed by the N1 .. N12, and esthetically it has nothing of the psychological and spiritual and dancing sensual beauty of a typical f3 program. Forth is, compared to Lisa GJ2 Fic3 (f3) as Neanderthal people compared to real humans. The human lips of beautiful models inspired the syntax of ((-)) where you may think of the dash within the full sensual lips as indicating a slight, sweet line between the front teeth. That this Forma-lis-m of Lisa found itself partially in the esthetics of a language without stacks called Lisp, at the same time as Forth was made, about, made it natural to make Lisa GJ2 Fic3 as a combination of the two but with a number of concrete elaborations all tailor-made to psychologically benefit the MIND of the programmer -- and her heart -- also as artist, as meditator, as interactor with the world. The long name of the language, Lisa GJ2 Fic3 reflects a succession of independently existing and collaboration levels of the language, as it also to-day ticks within the Yoga6d dot org search engine in a hyper-text speeded up version. Dancers, indeed, find also the looks of programs made in graceful Lisa GJ2 Fic3 code beautiful from a distance, the motions and curves indicating possible dances. The structure and the uppercase-ness of f3 furthermore makes it a good contrast -- again, the word -- to English prose, so that it is easy to include in prose without confusion as to what is English and what is computer code. Rather, it increses the dialogue. The first time I saw this potential of uppercase with parentheses used so successfully was with a book by Douglas Hofsteadter when he used Lisp to ask himself questions on some forms of self-reference, in an English book. The double-ness of the (( )) furthermore means that these shine strongly out as entirely different structures than the rest of the characters, without misunderstanding. In B9 font, which I use consistently, the numbers furthermore has an italic feel to them, so that the letters like i and l look not at all like the digit 1; also, the person is reminded constantly that numbers are having a meaning horizon other than numbers and that one must treat the infinity of natural meaning of English as fundamentally different than the typical finiteness one should associated with 32-bit numbers of a definite range. The B9 font, drawn by the MAKEFONT function which again is made within Lisa GJ2 Fic3, and the B9 editor, programmed within Lisa GJ2 Fic3, reflects the long development phases from the simpler earlier forms of the language, also called Firth, Boehmian, MT (for Manhattan Transformation, the earliest introduction in a preliminary get-acquainted form of the adolescent muses Lisa, Athina and Helena in scifi writings), Azpect, Yoga4d and more. The integration into a ripe and holistically ever-young mature immortal programming language and formalism was only complete when LIGHT3D was made in completed form in 2011. LIGHT3D is a final statement from my side against any notion of smoothing out or glossing over the complexities the computer must go through in order to dabble with three visual dimensions. It stimulates mind by not trying to do away with speed issues, but showing it all -- with lightness, therefore, about what it pretends. This is in stark contrast to the attempts to dullen the human mind by so many computer game producers in early 21st century, where the mimicking of photographic reality in the illusion of seamless motion is the only thing that matters -- leading to a sense of realitylessness and mind-blindedness, even a young pre-senility, in those who deal much with these idiotic 3d games. Rather, with LIGHT3D, the mind is shown the complexity and just some hints and then triggered at an inward level to make up the fantasy-world itself, further aided by texts and -- as the games will soon show, when they soon are released -- some abstract-looking GJP images derived from photos. Those who are not satisifed with very light games of this kind should not do any games at all, they are in case too greedy of what the digital computer is to serve them, here, at the manifest level. Still, metaphysically, it is tantalizing to imagine that trillions of computers collaborating on making reality at a subtle level could each do LIGHT3D in f3 and that would be enough -- for quantum levels, it all, -- when operated by muses. If you think on my other notes on simulation space vs actuality space in this light, you see how the making of the f3 formalism is not a small issue, but of principal importance -- and you can thereby also guess why one gets the peculiar energy from working with it as one in fact does, as more and more find that one gets from it. So, to return to numbers. When we have a 3-bit number approach, then, we must do a bit of work with MOD to find out whether 0, 1 or 2 fits in each of the four slots. Then we add up the digit afterwards so it becomes a 1111..3333 (instead of 0000..2222) approach. The four slots, then, has values 3 * 3 * 3, then 3 * 3, then 3, and then the value itself. When we put 2 in the first slot, it means, then, 2 times 3 * 3 * 3, or two times 27. Let us try to find out whether 80 gives 2222, which, when added up by one on each digit, gives 3333. 80 27 DIV POP gives us, let's see, it gives 2 since 2 times 27 is 40 plus 14, or 54, but three times 27 surely is blowing the top by going to higher than 80. (We are however going to calculate with 80 only internally, externally, to the interactor of the program, it will say '81'.) So 2 is in the first position. Then, there is a remainder. How much? 80 27 MOD POP It turns out that 26 is the answer here. We are going to have 2 in the first position of 2nnn and the remainder, 26, is going to fit into nnn. So 27 is 3 * 3 * 3. The next position is 3 * 3 or 9. 26 9 DIV POP This gives 2. 2 times 9 is 18. So 2 is also in the next position. It would not be surprising, then, if 80 gives 2222, but let's see, step by step. 26 9 MOD POP Here we get 8, that's the remainder. 8 3 DIV POP Here we get 2. So we have 222n. For the remaining digit, 8 3 MOD POP we find indeed that 2 is the answer. So the internal number 80 gives us 2222 as internal answer. We will present this as 3333 to the interactor. Enough blah blah, here are some screen examples and the program, with the careful adjustments you can meditatively do with your mouse in horisontal and vertical position comes next. These contrast-changes we get by means of shoving some numbers into WRITEPAL and calling on PUTPAL, the word 'pal' refers, of course, to the notion of a palette of the screen: it is not all that complicated, more info about them in the MTDOC. Here, it suffices to say that their completing number is 1 and 0, 1 referring to foreground and 0 to background. To get from MOUSEXY to a meaningful value we need to divide these numbers a little bit. For more precision, we can add 128 to the tonation number, but here we simply keep them in the range of something like 0..63 or the like, which does work out real well in this particular context. Good luck, also in further musings over contrasts!!! [[[Look at ../fic3inf3/essay20111014-a.jpg here & now]]] [[[Look at ../fic3inf3/essay20111014-b.jpg here & now]]] }* CAD19.TXT WRITTEN BY A.T. with L.A.H., }* }* Yoga4d.org/cfdl.txt copyright -- redist. }* }* For essay20111014 in fic3inf3. }* ((DATA FUN-NUMBER-SLOT-1 )) ((DATA FUN-NUMBER-SLOT-2 )) ((DATA FUN-NUMBER-SLOT-3 )) ((DATA FUN-NUMBER-SLOT-4 )) (LET DRAW-THIS-TYPE-1-2-OR-3 BE (( >N3 )) (( (( N3 ; 1 => EQN (MATCHED (( 200 => PEN-LEFT )) (( 170 => PEN-DRAW )) (( 3600 ; 400 => SUB => PEN-LEFT )) (( 170 => PEN-DRAW )) (( 200 => PEN-LEFT )) MATCHED) )) (( N3 ; 2 => EQN )) (MATCHED (( 320 => PEN-DRAW )) MATCHED) )) (( N3 ; 3 => EQN )) (MATCHED (( 3600 ; 200 => SUB => PEN-LEFT )) (( 170 => PEN-DRAW )) (( 400 => PEN-LEFT )) (( 170 => PEN-DRAW )) (( 3600 ; 200 => SUB => PEN-LEFT )) MATCHED) )) )) OK) (LET HERE-LEFT-LINE BE (( >N1 )) (( (( 1800 => PEN-LEFT )) (( N1 => DRAW-THIS-TYPE-1-2-OR-3 )) )) OK) (LET HERE-FLOOR-LINE BE (( >N1 )) (( (( 900 => PEN-LEFT )) (( N1 => DRAW-THIS-TYPE-1-2-OR-3 )) )) OK) (LET HERE-RIGHT-LINE BE (( >N1 )) (( (( 900 => PEN-LEFT )) (( N1 => DRAW-THIS-TYPE-1-2-OR-3 )) )) OK) (LET HERE-CEILING-LINE BE (( >N1 )) (( (( 900 => PEN-LEFT )) (( N1 => DRAW-THIS-TYPE-1-2-OR-3 )) )) OK) (LET INPUT-STONE-TYPE BE (( )) (( (( }WELCOME TO CAD19, EXPLORATION OF CONTRASTS!} ; 10 ; 10 => B9-POP )) (( }FIRST, TYPE ANY NUMBER FOR MOSAIC STONE 1..81.} ; 10 ; 100 => B9-POP )) (( }THEN, ENJOY THE NEW NUMBER FORMAT 1111..3333.} ; 10 ; 150 => B9-POP )) (( }PLEASE THEN ENTER, MOVE YR MOUSE TO MAKE CONTRASTS,} ; 10 ; 200 => B9-POP )) (( }AND ENTER AGAIN TO EXIT PROGRAM WHEN DONE.} ; 10 ; 250 => B9-POP )) (( }YOUR NUMBER 1..81: } ; 10 ; 300 => B9-POP )) (( 2 ; 350 ; 300 => B9-READLN => >N9 )) (( N9 ; 1 ; 81 => SET-RANGE => >N9 )) (( N9 => => )) )) OK) (LET CONVERT-NUMBER-TO-FUN-NUMBER-SLOTS BE (( >N8 )) (( (( DECN8 )) (( N8 ; 27 => DIV FUN-NUMBER-SLOT-1 < MOD => >N8 )) (( N8 ; 9 => DIV FUN-NUMBER-SLOT-2 < MOD => >N8 )) (( N8 ; 3 => DIV FUN-NUMBER-SLOT-3 < MOD => >N8 )) (( N8 FUN-NUMBER-SLOT-4 < INCVAR )) (( FUN-NUMBER-SLOT-2 => INCVAR )) (( FUN-NUMBER-SLOT-3 => INCVAR )) (( FUN-NUMBER-SLOT-4 => INCVAR )) )) OK) (LET SHOW-FUN-NUMBER BE (( )) (( (( }YOUR NUMBER IN OUR NEW FUN FORMAT IS THIS>>> } ; FUN-NUMBER-SLOT-1 >>> => CONCAT ; FUN-NUMBER-SLOT-2 >>> => CONCAT ; FUN-NUMBER-SLOT-3 >>> => CONCAT ; FUN-NUMBER-SLOT-4 >>> => CONCAT ; 10 ; 500 => B9-POP )) (( FT A-KEY )) )) OK) (LET MAKE-SUCH-BIG-MOSAIC-STONE BE (( )) (( (( FT CLS )) (( 100 PEN-Y <>> => HERE-LEFT-LINE )) (( FUN-NUMBER-SLOT-2 >>> => HERE-FLOOR-LINE )) (( FUN-NUMBER-SLOT-3 >>> => HERE-RIGHT-LINE )) (( FUN-NUMBER-SLOT-4 >>> => HERE-CEILING-LINE )) )) OK) (( LOOKSTK )) (LET OBEY-YOUR-MOUSE-HONEY BE (( )) (( (( FEET )) (( GETPAL )) (( GOLABEL3: )) (( MOUSEXY => >N2 ; >N1 )) (( N1 ; 1 ; 1024 => SET-RANGE => >N1 )) (( N2 ; 1 ; 768 => SET-RANGE => >N2 )) (( N1 ; 16 => DIV => >N8 )) (( N2 ; 12 => DIV => >N9 )) (( ^0 ; N8 >>V ; ^0 ; ^1 => WRITEPAL )) (( ^0 ; N9 >>V ; ^0 ; ^0 => WRITEPAL )) (( PUTPAL )) (( 55 => GOODPAUSE )) (( KEYTOUCH => NOT = GOUP3 === )) (( KEYNUM => RM )) (( FT CLS )) )) OK) (LET CAD19 BE (( )) (( (( GJ-ON )) (( INPUT-STONE-TYPE => >N5 )) (( N5 => CONVERT-NUMBER-TO-FUN-NUMBER-SLOTS )) (( SHOW-FUN-NUMBER )) (( PEN-ORIGO )) (( PEN-STRAIGHT-UP )) (( SHOWMOUSE )) (( MAKE-SUCH-BIG-MOSAIC-STONE )) (( OBEY-YOUR-MOUSE-HONEY )) (( UNSHOWMOUSE )) (( GJ-DONE )) )) OK) (( LOOKSTK )) (LET AUTOSTART BE CAD19 OK)