8  ? text handling

Tech­ni­cal in­for­ma­tion

The rou­tine was pro­gram­med in the pow­er­ful and fast EU­PHO­RIA lan­gua­ge (End User Pro­gram­ming with Hi­er­ar­chi­cal Ob­jects for Ro­bust In­ter­pret­ed Ap­pli­ca­tions – (c) 2003 Rap­id De­ploy­ment Soft­ware); the ani­ma­tion is based on li­brary con­tri­bu­tions (by Mic, 2000­/2003 ver­sion 031022) API for Eu­pho­ria 2.1, which in­ter­fa­ces the ad­van­ced Open GL (Open Graph­ics Li­bra­ry) al­go­ri­thms of Sil­i­con Graph­ics, Inc. ©1991-1993.

It is a com­put­er pro­gram free of any risk in­gre­di­ents: vi­rus, mal­ware or spyware of any kind (and how could it?); nor does it con­nect to the In­ter­net. It cre­ates only a cou­ple of ser­vice files, to be able to con­tin­ue each ses­sion ba­sed on user pref­er­en­ces.
You may have no­ti­ced that this web­site does not im­pose cook­ies (the Spir­it does not ne­ed bis­cuits to find out who is se­ek­ing It); it does not sell ser­vices, pro­ducts or ad­ver­tis­ing, al­though it has be­en qual­i­fied over the ye­ars by spe­cial­ized au­ton­o­mo­us sour­ces
It dis­pen­ses free of char­ge the max­i­mum ma­de by the au­thor – thro­ugh a pro­pri­e­tary do­main, not from a free ser­vi­ce – with­out re­quir­ing any reg­is­tra­tion; in any case it was not de­si­gned to ma­ke you un­der­stand who I am, but who you are.

At pres­ent it only runs in a Win­dows™ en­vi­ron­ment, even if the­re are util­i­ties for the Mac™ that could al­low it with­out de­mand­ing in­stal­la­tions.
Un­der Win­dows has be­en pre­pa­red in such a way that it can be used by the host sys­tem even as a scre­en sav­er: just re­name the ex­ten­sion from THE­ORY_3*.exe to THE­ORY_3*.scr and save it in the ap­pro­pri­ate fold­er of the Win­dows­\ OS; to find which in your ver­sion of the sys­tem in use just se­arch for *.scr with Ex­plor­er; I can­not spec­i­fy spe­cif­ic di­rect­ives and it may be nec­es­sa­ry to copy it wher­ev­er the­se fi­les are pre­sent, but the­re is no risk. Then it must be se­lect­ed or ac­ti­vat­ed for the pau­se-work pha­ses, thro­ugh the Desk­top Prop­er­ties.
The THE­ORY­_3be­ams­.exe file kept in copy can be laun­ched at will from any­where on the disk.

It orig­i­na­tes from the fi­nal lay­out of the graph ex­e­cut­ed by the THE­ORY pro­gram, [full, best op­tions] i.e. not in draft but at the max­i­mum pre­ci­sion, even with the pa­ram­e­ters es­tab­lished by the user. As soon as the cal­cu­la­tion ba­sed on the re­qui­red amo­unt of dec­i­mal pla­ces is com­plet­ed, the fig­ure ap­pe­ars in mo­tion in a re­du­ced and re­si­za­ble win­dow on the scre­en and can be sa­ved in a Gal­lery on the disk, also ac­ces­si­ble to the THE­ORY_3be­ams­.exe ap­pli­ca­tion to pre­fer a mod­el to an­oth­er.
The ap­pli­ca­tion de­fault set up ini­tial­izes a so­lu­tion ba­sed on the Gold­en tri­an­gle, con­sid­ered by many as a mile­sto­ne of the fig­ure, echo­ing the sec­tion of the Giza Pyr­a­mid; but es­pe­cial­ly af­ter hav­ing be­en re­ve­aled the na­ture of the Great Gold­en Tri­an­gle, in my opin­ion a mean­ing­ful pri­or­i­ty, as it de­fi­nes with its tri­ple tan­gen­tial­i­ty the con­cen­tric cir­cles with di­am­e­ters in pro­gres­sion of Gold­en Sec­tion, which char­ac­ter­ize with in­ev­ita­ble ev­i­den­ce – as shown on pa­ge 5 – the cir­cles for­med by the 43 tri­an­gles, from the out­er cir­cum­fer­ence to a fi­fth cen­tral cir­cle that de­lim­its from the in­side the fo­urth band and en­clo­ses the beat­ing he­art of that sin­gle tri­an­gle, which I have no hesi­ta­tion in de­fin­ing ‘key­sto­ne’ of the who­le sys­tem.
Who owns the THE­ORY ap­pli­ca­tion and has de­vel­oped his own yan­tra, will be able to load and see it ro­tate for his med­i­ta­tion in­ste­ad of the first, up­load­ing it from the Gal­lery whe­re he can save ev­ery­one he ex­pe­ri­en­ces in the op­ti­mi­zed for­mat.

A menu of op­tions ava­ila­ble by ri­ght­-click­ing any­whe­re in the win­dow of­fers some var­i­a­tions to the ren­der­ing, such as sub­tle back­gro­und sha­des: Black, "Dark red", "Dark blue", "Dark gre­en"; "Struc­tu­res in full fig­ure" or "Struc­tu­res in pro­file"; ef­fect "fil­led in Spa­ce (fog­gy)" [you may see it here, re­cord­ed for the back­gro­und], "Spa­ce pro­fi­led in li­nes" pro­jec­ting in cur­ved co­or­di­na­tes a sort of stel­lar pan­o­ra­ma, "Spa­ce not vis­i­ble"; "full scre­en [En­ter]", with "pre­de­ter­mined re­duc­tions (300,400) [Bar]","Yan­tra cus­tom nu­mer­i­cal zo­om","(dis­tan­ce var­i­a­tion, by the key­b­oard: [] / [+])" and ani­ma­tion with "Fil­led Sri yan­tra" or "Out­li­ned fig­ure", "Frame~Pet­als view", "Sri­Yan­tra Gold­/Sil­ver switch".
For a still im­age with­out open­ing a menu, keep the cur­sor clic­ked on the ed­ge of the win­dow.
"The Axis Mun­di in Spa­ce" em­u­la­tes in a thin line the grav­i­ta­tion­al spin­dle of the who­le uni­ver­se; “The Eye˜Egg (the World)” that is you, the cre­ation, the best of you: it is an ad­di­tion that can pro­ve to be pre­cious for med­i­tat­ing, with the flex­i­ble shape of an ovo­id with a per­fect pro­file, wh­ose con­cre­te­ness mer­ges with the ma­jes­tic trans­par­en­cy of the ethe­re­al; it is il­lu­mi­nat­ed by the per­en­ni­al light of 3 sub­tle mov­ing Rays in the fun­da­men­tal col­ors Red, Gre­en, Blue, com­ing from a sin­gle ex­ter­nal 'Point', which in turn must be wat­ched and fol­lo­wed, for the de­ci­sive im­pact of their li­ghts on the sce­nar­io.
In the mean­time, a black, ir­reg­u­lar and un­ple­as­ant shad­ow mo­ves, ap­pe­ars and hi­des be­hind its el­e­gant fig­ure, es­pe­cial­ly when the space is set dense, fog­gy and re­flects the light like a trans­lu­cent sce­nar­io who­se depth is al­most per­cep­ti­ble. It is the Chal­leng­er, the op­po­nent, the worst of you, your dark side; the be­ast 666 [6­+6­+6­=18, 1­+8­=9]; you have mat­ter to med­i­tate on.

You can check here the var­i­ous drop-down me­nus, even if the sim­u­la­tion has no ef­fect on the vid­eo.

Well, now it's up to you:

  you have this chan­ce, do not you miss it! fre­e­ly down­load this je­wel and try it sev­er­al ti­mes, with­out ha­ste, but at least three min­utes a day with­out in­ter­rup­tion, may­be to re­lax and free your mind; You cho­ose the back­gro­und mu­sic that in­spi­res you.

As for a pos­si­ble idyll, if you love to me­di­ta­te draw­ing your in­spi­ra­tion from a lyr­ic I can only of­fer you, right by the hu­man side, “The in­fi­nite”, which oc­cu­pies – be a co­in­ci­dence? – the twel­fth po­si­tion in the Can­ti by Gi­a­co­mo Le­op­ar­di, and con­cerns just a hed­ge (re­call the 'Yard'?) that de­lim­its, and pre­clu­des from the view of the far­thest ho­ri­zon, but right for this pat­tern it pro­jects the sub­ject's gaze to­wards the in­fi­ni­te spa­ce – whe­re that re­strict no lon­ger mat­ters – splic­ing in the con­scio­us­ness the thor­ough im­pas­si­ble al­ter­na­tion of the cy­cles of life, and the li­ve sea­son so forth that the he­art is one step away from hav­ing fear.

[ view the 1st manuscript BNN ]
Al­ways dear was to me this lo­ne­ly hill,
And this hed­ge­row, that from a so much part
Of the last ho­ri­zon the sight ex­clu­des.
But sit­ting and gaz­ing, in­ter­mi­na­ble
Space be­yond that one, and over­hu­man
Si­len­ces, and pro­foun­dest qui­et­ness
I guess in my thinking, where for a step
The heart don't get afraid. And as the wind
I hear to rus­tle thro­ugh the­se plants, I that
In­fi­nite at all si­len­ce to this voi­ce
Go com­par­ing: and co­me to mind the eter­nal,
And the de­ad sea­sons, and the pre­sent one
And live, and so­und of it. So midst of this
In­fi­ni­tu­de is get­ting drown my think
And the sink­ing is swe­et to me in this sea.
Translation by ANTONIO ALESSI © The Watch Publisher 2020

To help a web trans­la­tor to re­it­er­ate the sa­me text in oth­er idi­oms as well, with­out com­pro­mis­ing its el­e­gant sim­plic­ity, ne­ed to ad­opt the orig­i­nal lo­cu­tions ver­ba­tim, rath­er than try­ing to em­bel­lish or to rein­ter­pret the­ir­ me­an­ings as for a pro­se po­em, which wo­uld re­sult in a my­riad of some­how per­son­ali­zed re­ma­kes.

Do­ing that, I was drawn to use some un­u­su­al terms, eg "in­ter­mi­nat­ed ­/in­ter­mi­na­to", which the po­et cho­os­ed – as well as for "in­fi­ni­tu­de ­/in­fin­ità" – al­tho­ugh they re­sult words nor­mal­ly very lit­tle us­ed ev­en in the [cur­rent] na­tiv­e lan­guage.
This has to be ob­ser­ved, that Leop­ardi and his lan­gua­ge be­long to a rel­a­tive­ly dis­tant time (two cen­tu­ries sep­a­rate us), but abo­ve all that he ch­ose cer­ta­in words suit­ed to ex­pres­s un­mis­tak­able con­cre­te con­cep­ts.
So, I stri­ved to re­pro­du­ce the mo­od of his ver­ses, at­ten­ti­ve­ly se­lect­ing the most cor­re­spon­ding words – even when I won­de­red about the im­pact on the ac­tu­al read­ers – when­ev­er the­se lo­ok­ed to me mo­re re­spon­si­ve to the poet's in­ten­tion and writ­ing in his time.

(March 2020 – see also the "Trans­la­tion De­tails" be­low)
I can't nat­u­ral­ly mas­ter the En­glish lan­gua­ge as I do with my Ital­ian; but even if it may be not at best as for the ev­ery­day spe­ech or writ­ing, my trans­la­tion stri­ved to lit­er­al­ly rend­er the text, each sin­gle word, and lit­er­ari­ly the true mean­ings and mo­ods by the Poet, re­spect­ing any sub­tle de­tail and seek­ing their ca­den­ce when pos­si­ble. Thanks to ad­vi­se to AT @ myway.it any pos­si­ble syn­tac­tic mis­take or im­pro­per use.

A short note, per­haps not ple­as­ant,
du­ti­ful le­ast in this con­text.

When THEORY is spin­ning, close or min­i­mize oth­er run­ning ap­pli­ca­tions. And if you have a pro­jec­tor con­nect­ed to your com­put­er, you can en­joy it con­tin­u­ous­ly on the wall of a room; and if the­re will be ma­ny to turn on the plan­et, all the bet­ter for ev­ery­one!
At half the home page you a se­ries of icons and so­cial me­dia in­vi­te you to spre­ad the mes­sage on the Web in all di­rec­tions: help­ing oth­ers also costs you no–th­ing, but over time it can ma­ke a lot, sin­ce we are not alone, and the lay­out of the Or­e­gon is clear­ly dem­on­strat­ing this; then so­me­one – that's me – car­ried out this amo­unt of work for you, with­out ask­ing for any­thing.

Over time I plan to en­rich some op­tions and­/or the rev­o­lu­tion; I have tak­en note that some voi­ces con­di­tion each oth­er and on­ce ful­fil­led this work, may­be I will find the way to re­view them ...
You can up­grade free of char­ge with each re­lease; I will no­ti­fy you via Twit­ter (if you fol­low @Astro_Time and con­tact me, even via a pri­vate DM).

Translation DetailsThis com­put­er-aid­ed En­glish trans­la­tion may not re­sult ex­cel­lent, co­uld con­tain so­me er­rors, but has the ad­van­tage of hav­ing be­en chec­ked in such a way that Go­ogle or oth­ers can re-in­ter­pret it with suf­fi­cient lan­gua­ge prop­er­ty to be able to trans­late it into sev­er­al oth­er lan­gua­ges, re­pro­duc­ing the con­cepts ex­pres­sed by the au­thor.
As to the hy­phen­ation, wher­ev­er I tur­ned my re­se­arch, last­ing ma­ny ye­ars ago with a ded­i­cat­ed pro­gram and dic­tion­a­ries, the ru­les are dif­fer­ent all the ti­mes. Al­tho­ugh this work is not ded­i­cat­ed to smart­pho­nes, I had to do my best to me­et the in­cre­ased read­ing ne­eds on small scre­ens, even­ly mix­ing – why not, whe­re the vi­su­al space be­co­mes so crit­i­cal? – so­me oc­cur­ren­ces of these.