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Sat, Jun 07 2008 200 SEO It helps to be inanimate.
You can rise from the dead.

While in the hospital, the google cheetah suffered some pain,
on account of the acenet bandwidth pets
disabling my appache msdb.php to msdb redirect trick.

I only discovered this when I first fled home from the hospital
to see if Nekko and theora are still alive,
and found Nekko voiceless of depression,
but perfectly alive and having a complete tail still,
while theora was dead.

It helps to be inanimate.
You can rise from the dead.
The convalescence of theora was, and still is, quite slow
and painful, but with new and surprising vigour.

I hunted this cheetah myself and was very distressed when it
died with theora's short death, during the first days of my hospital stay.

Thank you Google software for this quick convalescence!

http://google.com/search?q=cheetah&btnG=Search

Nekko
Nekko

Theora Jones
Theora Jones

Appache
Appache

Cheetah
Cheetah

Google
Google

convalescence
convalescence
Wed, Sep 26 2007 100 Degree Absolute It is difficult to fight with ghosts.
It is even more difficult to fight the devil.
A devil in a feline is quite extreme,
especially if it only shows every so often.
Playing spying games is quite a treat though.
The british love the feline,
yet I'm quite confident the mind interogation techniques
had no such goals in mind.
It is almost fun, distressful fun, yet...

I did many new recordings last night and today
and the guitar got too much of my attention.
So the devil had sent his ghosts to revenge.

Then again, they havn't seen the british spy shows
as many times as I have.
My instincts are by now well tuned to the new
upgraded method, and Degree Absolute was
declared with the very first howl.
In seconds we were both secluded in the zone.
All sort of foods started quickly appearing.
The best dryfood in town, the best shnika.

Inside a small ball of Le Chat,
A tiny yellow semidoze of 2.5mg,
about the size of a pinhead,
already starting to dissolve.
A well needed safety measure today.
In the end, it won,
but it was quick and painless to either of us,
and the monthly record will still probably hit quite comfortably.

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Fri, Aug 31 2007 100 Tutor Joy One day I was showing you how to play the Piano.
You were in your room,
I was in the living room with the Piano.
I put one finger on the high end of the keyboard
and ran it across to the lower end.
You ran frantically from your room with joy,
thinking I know how to play.
So disappointed you were to discover this was
just your imagination.
So distressed was I, not being able to cater to
my little angel's wishes.
I now play the Guitar.
Thank you Shira for having made me a musician.

http://www.theora.com/guitar/wiwa3/aLetterForShira.mp3
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guitar
guitar
Fri, Jul 13 2007 400 Functions The blending function is that which takes an apple
and turns it into apple juice.
You can also use the blending function on strawberries
and get strawberry juice.
But you can't blend oranges.

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For clarity, we will call this function "blended()".

We use parenthesis, (brackets),
to show that a function acted on something
by writing like this:

blended(apple)

and then we can write down the result:

blended(apple) = appleJuice

and

blended(x) = xJuice

but only if x is in the universe where blended() operates.

the function:
double(x) = 2x
can be drawn easily on paper:

Make a horizontal line from one side of the paper to the other.
Divide it into 21 parts by drawing short vertical lines
across the line, and number them from -10 to 10.
Lets call this drawing "The X axis".
The Y axis is vertical, and is otherwise the same.
Once you draw it, we call the drawing, "The Axis System".

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If X is 5, than double(x) is 10,
so we draw a dot above the 5 on the X axis, (where x=5),
at the height where y=10.

double(-6) = -12 and is not on the paper,
so we draw all the dots from x equals -5 to 5,
and connect the dots with a ruler.

Together with the axes, we call this drawing now:
"The graph of y = 2x".


What would you blend to get absolutely nothing?

Well, if you put nothing in, you'll get nothing back,
that's for sure.

But is it that obvious that you cannot put a few ingredients
that would cancel each other out and you'll still get nothing.
For example if you put in the blender
matter and anti matter in just the right quantities?

The root of a function is the value of X where the value of Y is zero.
So at least one root of blended() is also zero.

Finding the root of a function is like solving an equation:

blended(x) = nothing.
What is x?

y = double(x)
what is X if y is zero?
y = 2x
0 = 2x
2x = 0
x = 0

But with the function:
y = 2x - 2
the root is 1.

So what is the root of y = x*x?
Zero.

of:
y = x*x -4 ?
2, right.

Well if we look carefully, -2 is also a root of this function.

The equation:
square(x) - 4 = 0
Is the equation to find the root of the function:
y = square(x) - 4

If in an function definition x is squared,
but no higher powers are there,
we call the function a Quadratic function,
and the equation a Quadratic equation.

I you draw the line of the function, the roots of the equation
are those where y=0, or when the line crosses the X axis.

We also use letters for the numbers in the definition itself,
and not to be confused with the numbers from the axes,
we take the letters A,B and C for the Constants in the equation,
and X,Y for the variable numbers from the axes
we originally marked X and Y in our drawing of the graph.

y = a*sqaure(x) + b*x + c

The quadratic equation to find the roots of
the quadratic function is:

a*sqaure(x) + b*x + c = 0

If all this down to earth mathematics
was a bit stressful,
remember at least that quadratic is not Quadruped,
nor Aquatic, which is more on the Oceanic side,
that math can predict the future,
that the suns will rise tomorrow,
in a galaxy, far, far, away....


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Keep Up the Good Work.
guitar
guitar
Thu, Jun 14 2007 200 Stanley Jordan and Heisenberg Jazz works for them because
they forgot to press the record button,
and someone has yet to let them know that
they are on stage,
and someone might hear them making a mistake,
and they should start noticing the audience,
as it will make a diffrence if they know they are
being watched.

No Stress.
No Mistakes.

Yet I can not play well if you are not listening.
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guitar
guitar
Thu, May 31 2007 100 Holidays What project must it have been,
to start your way from way up north,
all the way to the capital with a bunch of sheep,
showing off your fortune to everyone on the way,
throwing wild disco parties to stress the point,
three times a year,
over and over.

And what a exhilirating religious-magnitude
experience it must have been,
to make the same journey back home,
light as a feather,
without a single sheep,
nearly starving to death,
while the tax collecting Cohen's are feasting.
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Sat, May 12 2007 100 Stanley Jordan In his Master Sessions Video, Stanly Jordan talks about
how mistakes and stress correlate,
and if you make mistakes when you practice,
usually caused by stress, then the natural stress
later to occur when on stage or recording,
will make the same mistake repeat on stage.
The solution, he says,
is simply not to make mistakes when praticing.
This is easy to achieve, he continues,
all it takes is patience:
never play any faster than the speed
where you are sure you will
not make a mistake.

This system works of course really well.

I am nevertheless trying to improve upon
Stanly Jordan's thoughts and this system:

The stress-mistake correlation is rather a simple
Pavlovian response of muscle memory systems.
When you practice and make a mistake,
there is always a reason in the brain to have
caused it to direct the fingers to make this exact mistake.
Stanley Jordan noticed, that you only make mistakes
when stress comes along,
like when the phone rings, or the cat suddenly snarls,
or the music you are practicing with - just paced up a bit -, too fast for your fingers.

You are practicing, and you have already made that
particular mistake, representing a specific piece of noise
that you heard when you first made it,
which you will identify if you ever hear it again,
and you will hear it again, if you are stressed again,
all else also being the same,
so, don't make the mistakes when you practice
and you will not be able to repeat them when you are later stressed, he concludes.

But if you can hear the same mistake the second time,
not having followed Stanly Jordan's instructions to avoid it,
it means, from Stanly Jordan's accord of years of experience,
that it takes only one time, not two, for the mistake to occur,
for our muscle memory systems to record this mistake
with accuracy and be able to repeat it when conditions
so demand.

And this recording,
Stanly Jordan does not suggest how to prevent in full.

Mistake will continue to occur forever,
much less thanks to Stanly Jordan,
and hopefully even a wee bit less with this.

While Stanly Jordan points out the correlation
between mistake and stress,
and despite his otherwise usual infinite attention to detail,
in this case he is missing, I beleive,
some very improtant relevant details:

The individual mistake which occurs at a particular
timepoint in the music,
occurs with stress occuring at that same point in time,
and the timing of the surrounding split seconds
are all that is relevant.
You are not generally stressed for appearing on stage
and will overall make more mistakes.

Muscle memory records this particular
exact mistake (as I claim, with a single occurance),
as a result of the stressoccuring,
which can not possibly be unrelated to the content of the music itself.
This is why the stress finds its way to occur
at that particular instant in time in the music.
It is only when you recorded the mistake more
times than the non-mistake that the the misake will occur without stress.
This will happen if you are stubborn to repeat a mistake 'until you get it right'. You never will.
To quote Stanely Jordan: slow down until you always
get it correct,
and speed back up only as fast as you can always keep it correct, until you get it right.

But Freud tell us, that when your are stressed
is when your subconcious takes over,
which is why you make mistakes only
when you are stressed.

He is not wrong of course, and none of this
contradicts any of the above.

But it tells us something new and useful:

Who says that if the subconcious takes over
bad things will happen?
Maybe with some understanding, we can harness it?

After all, this is what psychologists have been
doing since Freud anyway,
and musicians since the first time caveman shot his arrow
from inside the hollow echoy skeleton of a mamooth,
or something like that.

Stress, first and formost, causes the quick and agile
subconcious systems to act,
faster than what it would take a more controlled operation.

Freud calls this Pavlovian response, when extreme: a trauma.

Meaning to say:
you will automatically and uncontrollably forever be stressed,
without any logical reason,
by that which happened to have occured in the time vicinity
of the traumatic event.

I must add that if the traumatic event itself is very short
and can be stamped with a single timestamp,
then the potential variety of correleted surrounding events
for the systems to record is very small.

But our subconciousness is partly many millions of years
old and partly a mere two million years in early
stages of development.
It encompasses many primitive and ancient systems, and
this happens to be one of them.

The way our subconciousness knows to tell degrees of
traumatic events apart is simple: it doesn't.

it responds traumatically, or Pavlovianly,
to the event, to the dgree of its illtemper.
Much like Staley Jordan says Staccato and Legatto are
merely digital words in the language to describe
two randomly selected numbers from a scale of one to ten
in a convenient but ineffetive method -
in my view -
traume, a simple pavovian response and the stress-mistake
correlation -
are dgrees of similar behaviour of similar systems
in our brain.

The new trick I am trying is based on
harnessing denial as a tool.
I am trying reverse psychology on my muscle memory
systems.
I am trying to train myself so that
whenever I make a mistake,
I immidiately stop everything, as if in panic,
and follow this rule as religiously as practical,
especially if I was recording until a second ago.

I am trying to make my subconciousness deny the mistake
ever occured, with a long thought process to match
and fight the muscle memory recording sequence,
by mimicing extra stressthe second I noticed
the mistake had occured.
From the elevated excitement from the beafed up evnt of the mistake, I expect to help eliminate, at least to a dgree,
the recording of the mistake.
It is also hard for such a mistake to be recorded in muscle
memory because there is no correlation sequence.
If there is absolutely no note in history that has ever
been recorded by muscle memory to follow the mistaken note,
then the mistake itself is at the far end of this muscle
memory sequence and its recorded strength must be very weak.

Since Stanly Jordan's system already insures
that if I combine the two systems it is statistically
improbable to make the same mistake twice,
and as the first and only recording is very weak,
it is less likely that such a mistake,
having been more lighly recorded,
will reoccur on stage

So whats the big deal,
all musician stop playing and start over when
they make mistakes almost all the time.

The difference is in the detail.
Almost is simply not nearly good enough.
If you practice casually without paying much
attention to these details, and set some other standards,
you might make, according to your set standards,
say 10 mistakes an hour on average,
and for nine of them you will stop and start over,
just like I am describing here.

You are not doing a 90% job at all.
You are merly recording about a mistake an hour
in your muscle memoey systems,
and having recorded this information over years,
by now your entire musical arrangment is woven
with recorded mistakes hoping for the stressful
event to appear in their lucky recorded moment in time,
or otherwise a competitor mistake will sprout and win instead.

I can't really say this is a discovry.
My habbits of how to react to mistakes
are a subject I have been toying with for some time now,
and every time I put on Stanly Jordan's master video
again I make sure I am by the computer when the part
where he talks about the stress-mistake correltion comes
on, trying to dig yet another minute detail from his elaborate description of vast experience.

This is also why it is hard for me to measure or report
how well this theory at all works.
This is how I try my best to practice most of the time,
with a very strong conviction it betters my learning speed.
I believe by now I have enough experiemnts to support this conviction.
Stanley Jordan
Stanley Jordan