Pattern's Chemo-Electric Trading Journal

(post#1 storage)
Sorry -- Doesn't work.

VISUAL FIELD DIAGRAM
(c center; b,d next; a,e edge)

A make, C1 use LIST little p,t

1. vague -- pattern/area, series
2. absolute -- horizontal, vertical lines
3. curved -- angle: logr, 'weak'/strong
4. straight -- angle: midline, trendlines
5. single -- candles

B LAYER p>t simpler: Act as if a std area IS a pattern and ignore angles for a really wide in-trade drawdown, thus simplifying what put into series --
0427-8 2009, g/u 1'TF it's gonna wander in this area, because lots of paired candles and light opposers are here, whereas it'll visit the lower stuff, which is a bunch of levels, and then leave, because it wants to explore the upper stuff (and see if it can get a level price there); or, as another way to put it, one area has a few horizontal lines and the other, above it, has a bunch of small vertical lines.
Then, all one does is study for a couple of exceptions within each vast area, for the turn's possibility.
Sometimes, I just can't concentrate enough, and relaxing to be a successful trader is far better than pushing myself into being a high-performing one.

This one works okay, and so does angles made to be tiny patterns that continuously fill up areas, allowing for the series to happen. An opposite to the last, to be sure; tougher, since there's lots of angles; and with this, more exact, in an almost lyrical way.


C make, A&E use STRUCTURE lots of p,t The idea is to simplify identification of every area and its structure and projections.
To this, the picture below has a local turn, which produces a line segment for its structure,
and a global level, which produces a line ray for its projection:

Its context is here.

Maybe this need for clarity brings with it justification for leaving unsure trades alone. Deciding through one's own observation of and then entering into a given structure and doing action within it
is completely different than
accepting an entity as having its own inherent structure without challenge and fitting a logical framework upon it for doing action within it:
Same feel, different result. The first is chaos and highly emotional, the second trading and, potentially, highly rational.
A third (/fifth) choice is doing the local (former) AND global (latter) choices, especially if complexly rational.

D COMPARE p<t

Use these symbols to compare different versions of them on the chart. Compare -- oppose, flip and oppose; or, for example, one stereotypical shape is wide, complex and develops and thus must be studied further, while the other is narrower and simpler and will respond to the other's actions.

E make, C2 use ATTITUDE little p,t

1. THAT'S EXACTLY IT.
   pattern -- locally unique shape, separate from others, next joins
2. SIMPLIFY AND MULTIPLY!
   with o/a curved (including logr) and straight (including midline) tension ( : adds up) angle (sometimes a TL) marking break
3. WELL, IN THE CONDITION IT'S IN....
   a series -- 1 maturity (has: moves on); 2 balance; 3 nerves; 4 affect; 5 path
4. IT JUST MOVES SOMEHOW, HERE
   period only of space or time bracketing volatility; std area; and, area signifier type of pattern -- looks same, overlaps other, next replaces

(revision)

VISUAL FIELD DIAGRAM
(c center (emotion, kinda);
b,d next (moving optical illusion, kinda);
a,e edge (plain appropriate-social view and activity, kinda))

Angles shrink space!

A

1. vague -- pattern/area, series
2. absolute -- horizontal, vertical lines
3. curved -- angle: logr, 'weak'/strong
4. straight -- angle: midline, trendlines
5. single -- candles

from
B Act as if a std area IS a pattern and ignore angles for a really wide in-trade drawdown, thus simplifying what put into series --
or
angles made to be tiny patterns that continuously fill up areas, allowing for the series to happen.

______________________________________________________
Balance!

C The picture below has a local turn, which produces a line segment for its structure,
and a global level, which produces a line ray for its projection:

Its context is here.
___________________________________________________________

One fast shrinks time!


D Variation in single instances of , for example, one stereotypical shape is wide, complex and develops and thus must be studied further, while the other is narrower and simpler and will respond to the other's actions.
or
Compare -- oppose, flip and oppose, eliminating which to pay attention to along the way.

into

E

1. SIMPLIFY AND MULTIPLY!
   with o/a curved (including logr) and straight (including midline) tension ( : adds up) angle (sometimes a TL) marking break
2. THAT'S EXACTLY IT.
   pattern -- locally unique shape, separate from others, next joins
3. WELL, IN THE CONDITION IT'S IN....
   a series -- 1 maturity (has: moves on); 2 balance; 3 nerves; 4 affect; 5 path
4. IT JUST MOVES SOMEHOW, HERE
   period only of space or time bracketing volatility; std area; and, area signifier type of pattern -- looks same, overlaps other, next replaces

With this simplified description of my current chart study approach, I begin a journal.

first one,
I used A3. Failed, since forgot it needed a trailing stop to capture the errant 'stronger-logr' reading.

second one,
I used A1 intuitively; this is weak, so I expanded in my mind the significance of space, that is, price*time, and thus, still unconsciously, switched to D and E, at first developing the area as a series of a pattern that rapidly contrast.
Then I realized the anchor at 1638est would level price, and traded it, getting a wide in-trade drawdown.
I don't recall exactly why I did the next trade. Perhaps I felt 1638est was a good resistance, the itd a weak rise that -- as I see now -- opened up a repetition of a zigzag effect. Anyhow, this last one is definitely an after-trade reason. I forget.

Pretrade reasons are easier to deal with and more legit.
Of course.

One thing, it f---in' slops around. I get it right, letting go of my perfectionism after accepting one stinkin' method; it's just that my reasons are approximately right. I gotta laugh at myself.
All the way to the bank, if I keep this going.

journal
12022010 06142009 3.5pctanhr 30h used method w- few tl's, lvging its approx nature -- Thus, no reason to show it, as no one would believe the trade report or see enough on the chart. It's all method.
I've captured the method I've always used, and, having brought it to my consciousness, can keep going even if I lose big. On this last group, I lost one trade for 30% of my original cash, and took four trades to recover; even so, I made it to 1/3 top speed (ten pct an hr (since I use 50-80% of 50:1 leverage) after several more trades.
Well, anyway, I'm happy. So what if I traded on demo simulator.

Another annoying post. Excuse me.

FIVE VIEWS METHOD




type
I (supergroup)

1. shape, vague -- aligns several items -- pattern/area, cycle/series
2. absolute -- tension -- horizontal, even from a point, or vertical, even from a band

II (subgroup)

1. Angle is a pattern and a cycle.
   curved -- angle: logr, 'weak'/strong;
   or, straight -- angle: midline, trendlines
2. single -- candles

-
I Act as if a std area IS a pattern, and consider a bunch of areas --
or
II angles made to be tiny patterns that continuously fill up areas.



BALANCE
where what is Ex., local and global division.
The picture below has
I a global level, which produces a line ray for its projection,
and
II a local turn, which produces a line segment for its structure:

Its context is here.
Most of the time, the chart won't be this easy, and the trades will be approximate, so a wide berth from where think'll exit, use trailing stops, etc., is best.


-
I Compare -- oppose, flip and oppose, etc. -- copies of same pattern,.
or
II one variation in single instances of different patterns,
for example, one stereotypical shape is wide, complex and develops and thus must be studied further, while the other is narrower and simpler and will respond to the other's actions.


condition



I i THAT'S EXACTLY IT.
pattern -- locally unique shape, separate from others, the next one joins
OR
ii IT JUST MOVES SOMEHOW, HERE
period of volatility; std (random / cookie-cutter) area;
and, area signifier type of pattern -- looks same, overlaps other, the next one replaces

II i CUT WASTE AND MULTIPLY ESSENTIAL!
with curved -- angle: logr, 'weak'/strong ; or, straight -- angle: midline, trendlines.
OR
ii WELL, IN THE CONDITION IT'S IN....
a series ,or layers -- 1 maturity; 2 balance; 3 nerves; 4 affect; and/or/next, 5 path

Too different from last one......












chart study/mm/psych

 

1. patternI i THAT'S EXACTLY IT.
   pattern -- locally unique shape, separate from others, the next one joins
   or
   shape, vague -- aligns several items -- /areaii IT JUST MOVES SOMEHOW, HERE
   to
   and, area signifier type of pattern -- looks same, overlaps other, the next one replaces
2. Angle is a pattern and a cycle.
   curved -- angle: logr, 'weak'/strong;
   or, straight -- angle: midline, trendlines;
   or, single -- candlesII i CUT WASTE AND MULTIPLY ESSENTIAL!
   with curved -- angle: logr, 'weak'/strong ; or, straight -- angle: midline, trendlines.
3. , cycle/seriesii WELL, IN THE CONDITION IT'S IN....
   a series ,or layers --
   1 maturity
   single-reason vs. the o/a flow and wrong,
   same only right thus countertrend-like,
   same and approximates o/a flow,
   temporary with-flow exactly, and
   o/a with-flow;
   2 balance; where what is Ex., local and global division. The picture below has I a global level, which produces a line ray for its projection, and
   II a local turn, which produces a line segment for its structure:
   Attached Image

   
   
   Its context is here.
   3 nerves; period of volatility; absolute -- tension -- leverage horizontal, even from a point, or vertical, even from a band
   4 affect; std (random / cookie-cutter) area;
   
   and/or/next,
   
   5 path
   #
   I Act as if a std area IS a pattern, and consider a bunch of areas --
   or
   II one variation in single instances of different patterns,
   for example, one stereotypical shape is wide, complex and develops and thus must be studied further, while the other is narrower and simpler and will respond to the other's actions.
   or
   I Compare -- oppose, flip and oppose, etc. -- multiple copies of same pattern,.
   or
   II angles made to be tiny patterns that continuously fill up areas.

ANNOYING!!!!!!!!!!

storage for post#1:






SIGNAL RELIABILITY
path (pattern, variation, copy, continuous),
flow (wrong->corrected->approximate->right),
signal (deviation, logr-midline division, band/bar, string),
type (volatility, reaction, tension, balance),
piece (weak/strong logr....curved/straight angle....midline....trendline)











newer post#1:





SHAPE PT LINE --- box-volatility at, logr-midline between -- tension-balance from, copy-proxy to -- deviating-notching trend





This one I like, because I can put every single shape on the chart for each trade, the entire method is printable on the MT4 chart in three text lines, and the definition for each pattern is clear and immediately doable.

The wording is to fit the price-time line and to provide cause-effect amongst the patterns; the cause-effect links rather than is there more than any other possible link.
One could easily collapse this list of patterns and make another one that is just as valid; I like the workability of how I present the list and I have experience with the patterns.

1. The first pattern set is most easily recognized in the form of an s/r band; it's also convenient to think of the box as curved, and thus create an ellipse's midline as an s/r; and, ignoring some of the chart to pay attention to the rest, is easier with such an application as a 'volatility box'.
2. The second pattern set is line patterns number five.
3. The third pattern set works around an invisible, conceptual or visible geometric shape such as a period or a line.
4. The fourth pattern set is line patterns number four and, to a lesser extent and also with some relation to the first pattern, line pattern number two.
5. The fifth pattern set is the ordinary definition of 'deviation', and 'notching' is when a completely vertical (or horizontal) line stop at regular intervals to 'notch' some action within the pause area.

another version of first portion of post#1:



SHAPE --- curve-corner - volatility at, logr-midline between -- tension-balance from, copy-proxy to -- deviating-notching trend




another:



SHAPE --- curve-corner - volatility at, logr-midline between -- tension - balance-compromise from, copy-proxy to -- deviating-notching trend



and:



SHAPE --- curve-corner - volatility at, logr-midline between -- tension - balance-compromise from, copy-proxy to -- oppdir'n-hold-spiking - deviating-notching trend



then:


curve-corner-fade - bent-up-channels at, logr-midline between -- tension - balance-compromise from, copy-proxy to -- oppdir'n-hold-spiking - deviate-notc with


and:






__________________________________________________



curve-corner-fade - bent-up-channels at, logr-midline between -- tension - balance-compromise from, copy-proxy to -- oppdir'n-hold-spiking - deviate-notch with












































This one I like, because I can put every single shape on the chart for each trade, the entire method is printable on the MT4 chart in three text lines, and the definition for each pattern is clear and immediately doable.

The wording is to fit the price-time line and to provide cause-effect amongst the patterns; the cause-effect links rather than is there more than any other possible link.
One could easily collapse this list of patterns and make another one that is just as valid; I like the workability of how I present the list and I have experience with the patterns.

1. The first pattern set is most easily recognized in the form of an s/r band; it's also convenient to think of the box as curved, and thus create an ellipse's midline as an s/r; and, ignoring some of the chart to pay attention to the rest, is easier with such an application as a 'volatility box'.
2. The second pattern set is line patterns number five.
3. The third pattern set works around an invisible, conceptual or visible geometric shape such as a period or a line or a triangle or a rectangle, even a midline once in a while.
4. The fourth pattern set is line patterns number four and, to a lesser extent and also with some relation to the first pattern, line pattern number two.
5. The fifth pattern set is the ordinary definition of 'deviation', and 'notching' is when a completely vertical (or horizontal) line stop at regular intervals to 'notch' some action within the pause area.

about fifteen patterns (pattern set three with a bunch of regular shapes, as noted above) in total:

1. curve-
2. corner-
3. fade -
4. bent-up-channels at,
5. logr
6. -midline
7. logr-midline between --
8. tension -
9. balance-
10. compromise from,
11. copy-proxy to --
12. oppdir'n-
13. hold-spiking -
14. deviate-
15. notch with

___________________________________________________________

another:



curve-corner-fade - bent-up-channels at, logr-midline between -- tension - balance-compromise regular-shapes-from, copy-proxy to -- oppdirn-hold-spike - deviate-notch with




-- clarification, not any new patterns



_______________
______________

I changed my mm to reflect greater potential sensitivity to the chart's movements. It's now 10 pips minimum TP and SL and retain full range of possible amounts of each. This allows the idea of overall profit happen.

Method's beginning to hold together: Imagined each pattern set, per pattern, as distinct shapes on the chart. (Took me two days, five hours to do this.) This helps the user recognize and connect them as the price-time line continues.



(post#1)











curve-corner-fade - bent-up-channels at, logr-midline between -- tension - balance-compromise regular-shapes-from, copy-proxy to -- oppdirn-hold-spike - deviate-notch with





number of patterns:

1. curve-
2. corner-
3. fade -
4. bent-up-channels at,
5. logr
6. -midline
7. logr-midline between --
8. tension -
9. balance-
10. compromise from,
11. copy-proxy to --
12. oppdir'n-
13. hold-spiking -
14. deviate-
15. notch with

How, each pattern set:

1. The first pattern set is most easily recognized in the form of an s/r band; it's also convenient to think of the box as curved, and thus create an ellipse's midline as an s/r; and, ignoring some of the chart to pay attention to the rest, is easier with such an application as a 'volatility box'.
   Note: A contains logr-midline as a clean divide; B is logr-midline in other forms; and, C is logr and/or midline. Also may apply to trader:
   Attack-reaction-exhaustion-control-merge series
   involves two entities which logr-midline positions. (It'd take too much imagination to apply the patterns too deeply to the series; rather, affect to change or attentuate action may be more appropriate to be precise for the trader.)
2. The second pattern set is line patterns number five.
3. The third pattern set works around an invisible, conceptual or visible geometric shape such as a period or a line or a triangle or a rectangle, even a midline once in a while.
4. The fourth pattern set is line patterns number four and, to a lesser extent and also with some relation to the first pattern, line pattern number two.
5. The fifth pattern set is the ordinary definition of 'deviation', and 'notching' is when a completely vertical (or horizontal) line stop at regular intervals to 'notch' some action within the pause area.

(post#1 dump)



the method:

partial explanation:


Get into it. Look at the chart as if your life depended on walking its landscape home.


curve-corner-fade - bent-up-channels at, logr-midline between -- tension - balance-compromise regular-shapes-from, copy-proxy to -- oppdirn-hold-spike - deviate-notch with





number of patterns:

1. curve-
2. corner-
3. fade -
4. bent-up-channels at,
5. logr
6. -midline
7. logr-midline between --
8. tension -
9. balance-
10. compromise from,
11. copy-proxy to --
12. oppdir'n-
13. hold-spiking -
14. deviate-
15. notch with

How, each pattern set:

1. The first pattern set is most easily recognized in the form of an s/r band; it's also convenient to think of the box as curved, and thus create an ellipse's midline as an s/r; and, ignoring some of the chart to pay attention to the rest, is easier with such an application as a 'volatility box'.
2. The second pattern set is line patterns number five.
3. The third pattern set works around an invisible, conceptual or visible geometric shape such as a period or a line or a triangle or a rectangle, even a midline once in a while.
4. The fourth pattern set is line patterns number four and, to a lesser extent and also with some relation to the first pattern, line pattern number two.
5. The fifth pattern set is the ordinary definition of 'deviation', and 'notching' is when a completely vertical (or horizontal) line stop at regular intervals to 'notch' some action within the pause area.

pattern-set divisions:
_ positions (given):
They are A 'at-between', B 'from-to', and C 'with'.
The divisions hold the method together: Imagine each pattern set, per pattern, as distinct shapes on the chart. (Took me two days, five hours of putting the first line atop this post on the chart as text to finally understand this.) This helps the user recognize and connect them as distinct areas, often A then B then C, on the price-time line at it continues.
_ one-set interpretation of all (example, through the second pattern set):
A contains logr-midline as a clean divide; B is logr-midline in other forms; and, C is logr and/or midline.
Using both the positioning and the jump-and-compromise together may apply to trader's psychology to help guide one's own actions:
Attack-reaction-exhaustion-control-merge
series involves two entities which logr-midline positions into, depending on how the series goes, one of the pattern sets.
Note Keep at the level of division to record affect to change or attentuate action; other pattern sets or individual patterns break down the metaphor.



This is gonna sound stupid. Here goes:

I made a very fast, utterly amateur -- picked an Internet site; yes, I've read about it in several glimpses over a decade or two -- and knowing nothing else about the subject, got some generalizations from here:

ff (that is, the fight-or-flight response), reproduction(/socialization), timelight(/trading ; ) )
brain (in order): dopamine, GABA, serotonin

the rest is
normalization:
energy/tenserelax/fuel/(before-/during-/after- fuel/(use)energy/immune)waste/immune
brain: acetycholine

Thus, if I am to trade consistently well enough to earn a living from it -- risk only what I can lose and pay my bills from what I get trading from it --
then I must consider all these categories.
Hey, it couldn't hurt. I've already done the social environment, the brain, the heart/stomach, and the muscles/spine. Stupidly, of course.




--------------------------------


(post#1 redo)




the method:

partial explanation:


Get into it. Look at the chart as if your life depended on walking its landscape home.


curve-corner-fade - bent-up-channels at, logr-midline between -- tension - balance-compromise regular-shapes-from, copy-proxy to -- oppdirn-hold-spike - deviate-notch with





number of patterns:

1. curve-
2. corner-
3. fade -
4. bent-up-channels at,
5. logr
6. -midline
7. logr-midline between --
8. tension -
9. balance-
10. compromise from,
11. copy-proxy to --
12. oppdir'n-
13. hold-spiking -
14. deviate-
15. notch with

How, each pattern set:

1. The first pattern set is most easily recognized in the form of an s/r band; it's also convenient to think of the box as curved, and thus create an ellipse's midline as an s/r; and, ignoring some of the chart to pay attention to the rest, is easier with such an application as a 'volatility box'.
2. The second pattern set is line patterns number five.
3. The third pattern set works around an invisible, conceptual or visible geometric shape such as a period or a line or a triangle or a rectangle, even a midline once in a while.
4. The fourth pattern set is line patterns number four and, to a lesser extent and also with some relation to the first pattern, line pattern number two.
5. The fifth pattern set is the ordinary definition of 'deviation', and 'notching' is when a completely vertical (or horizontal) line stop at regular intervals to 'notch' some action within the pause area.

pattern-set divisions:
_ positions (given):
They are A 'at-between', B 'from-to', and C 'with'.
The divisions hold the method together: Imagine each pattern set, per pattern, as distinct shapes on the chart. (Took me two days, five hours of putting the first line atop this post on the chart as text to finally understand this.) This helps the user recognize and connect them as distinct areas, often A then B then C, on the price-time line at it continues.
_ one-set interpretation of all (example, through the second pattern set):
A contains logr-midline as a clean divide; B is logr-midline in other forms; and, C is logr and/or midline.
Using both the positioning and the jump-and-compromise together may apply to trader's psychology to help guide one's own actions:
Attack-reaction-exhaustion-control-merge
series involves two entities which logr-midline positions into, depending on how the series goes, one of the pattern sets.
Note Keep at the level of division to record affect to change or attentuate action; other pattern sets or individual patterns break down the metaphor.


other descriptions that may be useful (note, description of the description not here if not self-explanatory; thus, more of a personal use):

shape zones

Recently, I was able to gain ground psychologically in my personal life. As a result, I comprehended how to make a better psychological/trading model (found in the top of the first picture in post #1, and put in perspective with the bottom portion of that picture and, at the bottom of the post, with various other organizations I've done) . Being able to explain how any encounter with others, and thus stay reasonably calm, has always been my first goal in writing. Through relating to the different avenues of life people have taken, I can see how one's own random skill must go with consistency of profits. I now endeavor to trade well every trade, and thus to apply money, or rather skill, management there.

To that note, I provide instances of this new direction. The method in the middle portion of the top picture in post #1 is still what I do; it is the best organization I can get of the same approach to using drawing devices I've used for several months now.





These were paper trades, and I do not expect and have not done this well even in simulator mode. Nevertheless, I am confident I will keep in at least a slowly progressing profit for each account I take on (since the simulator I use does not save accounts when the platform is closed.)

Writing down how I propose each TL or other use of a drawing device contributes/applies to the next trades, is new to me. I doubt I will do this all of the time; it could be useful when the pressure's on and time crawls more slowly.




------------------------------------------


Here's the core of my method. The rest of post#1 is optional description and psychology.



________________________


(the method's core)

curve-corner-fade - bent-up-channels at, logr-midline between -- tension - balance-compromise regular-shapes-from, copy-proxy to -- oppdirn-hold-spike - deviate-notch with

number of patterns:

1. curve the idea that a well-formed ellipse will form a radius past which pt (the price-time line, or price measured across time) fails to go -
2. corner a 90-degree angle found in pt, often divisible in halves (even to 11.25 degrees on occasion) to draw a TL from it -
3. fade - when pt works less and less off a TL
4. bent-up-channels at pt bent up within a regular channel with midline, as if it's trying its best to build up, hold in or expend pent-up energy ,
5. logr logarithmic curve with an angle more or less than 90 degrees
6. -midline draw a straight line between two points, with pt making a distinct middle point/area
7. logr-midline between so much/many-of a logr or logr's above, midline(s) below a regular line --
8. tension the regular shape which encapsulates where the rest of the pt acts chaotic around -
9. balance tension is spread evenly across the pt area -
10. compromise hi-lo-mid, areas not connected from,
11. copy-proxy line pattern number four, that is, three copies of the same unique shape, and then a TL ray drawn from each top of the three, connected on the TL ray's third dot, and the three overlapping dots dragged to a significant pivot; the proxy is one of the lines having no predictive value, and instead balancing the other two, or a fourth line through which the three go and counteract to in order to get to the area the three align with to --
12. oppdir'n angle of one pt area roughly 90 degrees from another's, perhaps to be seen as resulting in a kind of cancellation of energy -
13. hold-spiking a temporary spike of price from a flat area, which results, given the rest of the pt in that area, in price continuing once this energy the spike dissipated is gone -
14. deviate TLable flat area or somewhat-flat shape that strengthens pt's resolve to go in the nearly opposite direction -
15. notch with a straight pt with regular rest stops of the extreme energy at approximately 90 degrees to the straight pt each is on

________________________



shape zones;local-global; l.p.3's and angle flow; seasonal biology;

This table is what I worked on for at least a week, before deciding for myself that 'gut' and 'say' should work for me:








(post#1 dump)


To condition:

1. underlying think/move speed adjust through overemphasis of conscious, serial thought/motion;
2. temporariness to well-known permanence of logic, memory, with-AT (AT: Anatomy Trains, a system of aligning muscle/cartilage (and thus, through inference/affect, the rest of the body) along early evolution's most-common and basic motions, system shown through actual cadaver splices and applied to different fields) physical movements with maximum-push cc+ff (cc: exact version of ff, only in brain; ff: flight-or-fight response, as affects entire body),
3. NAME stops emotional exogesis including irritation/anger/rage or other range of a single emotion;
4. one's cultural (language: ) names with conceptual summary unavoidability-positioning to overwhelm-stop-redirect thought/motion
5. and, (un)learn cycle, an extreme exaggeration of a short piece of a path, thus, flow:

1. object layers, anchors logr;
2. once logr develops, action*;
3. action textures, reframes midline;
4. once midline develops, object^.

With another anything. ^Pick 1. balance, 3. compromise, or 5. divergence. *Pick 2. gut or 4. say, i.e.

, .

Practice regularly drawing TL's from temporary patterns, sometimes borrowing regular shapes such as ellipses, triangles and frames to do so.
A place to get started is line patterns, especially l.p.'s 4 and 5. Another is current examples loosely on deciding which and amount of detail to include -- sharp edge 1,2,3,4,5,6,7, ; dull edge: ; mistakes: .



(post#1: new)
cycle --
Object layers, anchoring logr; once logr develops, action.
Actions texture, reframing midline; once midline develops, object.

temporary patterns --
objects EXHAUSTION memory-balance or emotion-divergence, with the third object, TENSION cc-ff* - compromise,
settling disputes between the two types of
actions, POSITION logic - body core and POSITION cultural-language name^ - say, that is, between
& .

*cc-ff is the flight-or-fight response, where cc is my own description of ff when isolated in the brain cavity.
longer version:
with-AT (AT: Anatomy Trains, a system of aligning muscle/cartilage (and thus, through inference/affect, the rest of the body) along early evolution's most-common and basic motions, system shown through actual cadaver splices and applied to different fields) physical movements with maximum-push cc+ff (cc: exact version of ff, only in brain; ff: flight-or-fight response, as affects entire body)
^name is any social-group name, adjective or phrase usually reserved for formal or identifying phases of an encounter, especially as geared toward and derived from the courser appetites (in which case 'gut', or 'd........', may at times be described as 's..' or 'v.......', each with a different set of or take on emotions, cultural-language names, logic (think how use, rather than the definition of) and memory). They often overtake a person's awareness for most of the day, whether or not we want it to, due to an early human history precedence.

Practice regularly drawing TL's from temporary patterns -- any, since the ones described above are only to organize the entirety into one format --, sometimes borrowing regular shapes such as ellipses, triangles and frames to do so.
A place to get started is line patterns, especially l.p.'s 4 and 5. Another is current examples loosely on deciding which and amount of detail to include -- sharp edge 1,2,3,4,5,6,7, ; dull edge: ; mistakes: .

(post#1, slight revision)










cycle (order: object, echoes (layers) of object, indication of the start of a logr; several smaller areas which combine to shape into a logr. Actions within this number of areas that forms its own action paths and their line-like structure, a midline central this developed larger area; development of the entire, worthwhile midline, and an object from within or near and related closely to the midline's area.) -- --
Object layers, anchoring logr; once logr develops, action.
Actions texture, reframing midline; once midline develops, object.

temporary patterns (order: balance,body core,compromise,say,divergence) --
objects EXHAUSTION memory-balance or emotion-divergence,
with the third object, TENSION cc-ff* - compromise, settling disputes between the two types of
actions, POSITION logic - body core (informally, 'gut' (dropped, since overemphasizes the d........ type of body core)) and POSITION cultural-language name^ - say:
& .

*

1. cc-ff is the flight-or-fight response, where cc is my own description of ff when isolated in the brain cavity.
   My guess is that a range of cc-ff to expression of 'broaden-and-build', that is, positive emotions, both reside in with-AT.
   longer version:
2. with-AT (AT: Anatomy Trains, a system of aligning muscle/cartilage (and thus, through inference/affect, the rest of the body) along early evolution's most-common and basic motions, system shown through actual cadaver splices and applied to different fields) physical movements with maximum-push cc+ff (cc: exact version of ff in a range with positive emotions, only in brain; ff: flight-or-fight response, as affects entire body)
   knowledge transfer, or 'with-cc', to complement with-AT): A non-/less-related-to-trading idea is used directly in the trade's reason(s) to change the amount or type of edge. This happens, for example, with a negative/inappropriate -- that is, 'gut'+say not balanced to read price divergence in the correct direction -- broadening with a positive/appropriate -- is so-balanced -- narrowing.
3. "The broaden-and-build theory of positive emotions suggests that positive emotions (viz. enjoyment/happiness/joy, and perhaps interest/anticipation) broaden one's awareness and encourage novel, varied, and exploratory thoughts and actions. Over time, this broadened behavioral repertoire builds skills and resources. For example, curiosity about a landscape becomes valuable navigational knowledge; pleasant interactions with a stranger become a supportive friendship; aimless physical play becomes exercise and physical excellence.
   This is in contrast to negative emotions, which prompt narrow survival-oriented behaviors. For example, the negative emotion of anxiety leads to the specific fight-or-flight response for immediate survival." (source)

emotion -- a measure of tension/exhaustion with respect to position - valued time, taken forward.

memory -- a measure of tension/exhaustion with respect to position - valued time, taken backward.

Thus, (cultural-language) name and logic both are a measure of position with respect to tension/exhaustion, the former limiting and the latter giving unlimited value to position.

logic -- any nonsocial-group name, adjective or phrase usually reserved for formal or identifying phases of an encounter, especially as geared toward and derived from the coarser desire-neutral, direction-preferring actions, each (meta-)logic symbol with a different set of or take on
emotions,
cultural-language names,
cc-ff,
and memory).
They often overtake a person's awareness for most of the day, whether or not we want it to, due to a tensegrity with each other in any one environment.

^name is any social-group name, adjective or phrase usually reserved for formal or identifying phases of an encounter, especially as geared toward and derived from the coarser appetites, that is, (un)desired actions that BODY CORE also deals with (in which case 'gut', or 'd........', may at times be described as 's..' or 'v.......', each with a different set of or take on
emotions -- because of name's proximity to this other modifier that is with DIVERGENCE, NAME stops emotional exogesis including irritation/anger/rage or other range of a single emotion;
cc-ff;
logic (think how use, rather than the definition of),
and memory).
They often overtake a person's awareness for most of the day, whether or not we want it to, due to an early human history precedence.
A cultural-language name follows the standards of this method, as any other object with its actions considered would.
A name's patterns define in the creation of the name within the entity, store in the name's respective neural plexus(es) in the body, and divide the subject neatly into the areas (that is, objects) of and actions to affect in order to paint a picture of the name and run the name's cycle and thus include its patterns.


A name's cycle:
Various actions
and a list of a life's areas of affect upon others, to exist / be an object,
work separately or together and during
the creation,
practice, or
dissolving of the name for the entity.
Further, a name divides exactly into
exist/object and effective-exchange-of / action for entity.


A name's patterns:
inherently with ACTION SAY exist with a reasonable sample from the range from
a high (laughter)
to a low (rage)
that express an action as belonging to the name,
and thus how SAY relates to the nearest object DIVERGENCE;
and,
as related to ACTION BODY CORE effective-exchange-of with the range from
outward reaction to from within area (object(ification)) or
inner sense for about outward area (object(ification)
possibility of named action that express an undesired/desired existence and thus represents that existence,
and thus how BODY CORE relates to the nearest object BALANCE.

An example run-through of a name's cycle's likely patterns are
balance: completion, within any one moment of the name's possibility of existence near the entity, to be the or be able to name,
body core ('gut'): as the cycle goes through in the overall naming,
compromise: activity to continue to name,
say: in minor cycles of a certain pattern's evolving to fit in with the rest, or
divergence: efforts to (un)do the name.



Practice regularly drawing TL's from temporary patterns -- any, since the ones described above are only to organize the entirety into one format --, sometimes borrowing regular shapes such as ellipses, triangles and frames to do so.
A place to get started is line patterns, especially l.p.'s 4 and 5. Another is current examples loosely on deciding which and amount of detail to include -- sharp edge 1,2,3,4,5,6,7, ; dull edge: 1,2,3,4, ; mistakes: .
My organization of TL's and temporary patterns is heavy on psychology; the cycle and,
in the 'patterns' section, words in bold amongst the objects,
and a technical-chart view of the pictures for each of the actions,
are the method only, and the rest is psychology. More traditional approaches to trader psychology that I found useful are at these links: 1,2,3,4,5,6,7,.












------------------------------------------------------------------------------


12252010 1756est I think I stick with one body-core pattern and then get caught texturing a set of actions around a midline through several easy trades in one similar area, before a new area say-overwhelms me.

(post#1: new)











Area, draw TL's from:
1. ellipse centerline on edge of
2. logr fan that is an
3. midline or divergence from or ninety-degree angle of
4. level opposition or hi-lo compromise to release or build pressure and turn from
5. aligned turn pivots, bunched runs inside, even waves, flat line or tiny balances

ff-bb guides chart study view while one searches for the correct gut interpretation.
Range of possible gut interpretations of chart portion to trade:

1. whole pattern Gut in level-flip is more often one wrong reason followed and otherwise felt normally while buried and held to be ignored or reacted-to; may always be right if partial trade is taken, depending on range of reason's probability.
2. dot and structure A hi-lo false reading is noticeable with flighty, chemically irregular attention that mistrusts experience; may occasionally be right if at least anchored in a solid reason from the beginning or at the finish.
3. a different pattern A series of gut feelings makes up a different scenario* and create a dilemma one pays attention to instead; may occasionally be right if the other scenario's conclusion coincides with the trade's.

*scenario training
1. Practice close-minded, violent control:
Label everybody/thing, the label exactly describing every motion the labelled can possibly make. Control the other: Have a better label and leverage it vs. anything the other does (laughter) and get closer to attack without getting hurt oneself (rage). emotions: laughter, rage.
Repetition is your ally, insult your wound: Remove a slice from the other's life so it never recovers fully.
The other should leap away from you, scream for mercy and threaten you with a higher, righteous authority, all of which is in vain. Use short, violent actions, sentences, and respond immediately and overwhelm your opponent, retreating when, rarely, opponent gains ground, only to return when use it first to control.
2. act like a child who wants to please the parents once they return (we were all one once, and others' relative absence can serve for the roles)
3. produce a metaphor of your life's greatest fears with various features of making a trade, so that you feel as if you lessened them once you completed the features
...


__________________________________________________________________


(post#1 revision)

Area, draw TL's from:
1. ellipse centerline on edge of
2. modified-line logr fan that is an
3. midline from or divergence as or ninety-degree angle of
4. level opposition or hi-lo compromise to release or build pressure and turn from
5. aligned turn pivots, bunched runs inside, even waves, flat line or tiny balances

ff-bb (post #268's description; #50's breathing style to instantly produce one or the other into use; and, #97's "choosing which focal state", that is, ff-bb, "is at fault shows where use of a gut instinct reading of the chart went wrong.") guides chart study view. Gut interpretation (simple, direct record: post 85, an exact description of an actual gut interpretation; and, 91-2 the three variants of using the gut listed below):

1. dot and structure A hi-lo false reading is noticeable with flighty, chemically irregular attention that mistrusts experience. A trade series tends to get nervous and then impulsive, the trader swept along to allow one's gut to catch on.
2. whole pattern Gut in level-flip may be well-reasoned if partial trade is taken. Several in, helplessness may set vs. resolve, strong emotion cloud thought.
3. a different pattern A series of gut feelings play a role in a more important scenario now in crisis. Resolution may counter profit after correct trading gut.

*scenario training
1. Practice close-minded, violent control:
Label everybody/thing, the label exactly describing every motion the labelled can possibly make. Control the other: Have a better label and leverage it vs. anything the other does (laughter) and get closer to attack without getting hurt oneself (rage). emotions: laughter, rage.
Repetition is your ally, insult your wound: Remove a slice from the other's life so it never recovers fully.
The other should leap away from you, scream for mercy and threaten you with a higher, righteous authority, all of which is in vain. Use short, violent actions, sentences, and respond immediately and overwhelm your opponent, retreating when, rarely, opponent gains ground, only to return when use it first to control.
2. act like a child who wants to please the parents once they return (we were all one once, and others' relative absence can serve for the roles)
3. produce a metaphor of your life's greatest fears with various features of making a trade, so that you feel as if you lessened them once you completed the features
4. post 78 has starters for others
...
















or, you can climb into my spaceship and draw a pretty picture

Any way you look at it, this method is a list of shapes one needs thousands of hours of experience to do well drawing TL's from on the chart, an unscientific approach to trading psychology, and a style of discretionary trading that makes mince meat of any mm one might try.





Nevertheless, I trod on, Hope leading the way.

Sorry, more absurdity.

(post#1: modified slightly from last post)














































premade:
1. Practice close-minded, violent control:
Label everybody/thing, the label exactly describing every motion the labelled can possibly make. Control the other: Have a better label and leverage it vs. anything the other does (laughter) and get closer to attack without getting hurt oneself (rage). emotions: laughter, rage.
Repetition is your ally, insult your wound: Remove a slice from the other's life so it never recovers fully.
The other should leap away from you, scream for mercy and threaten you with a higher, righteous authority, all of which is in vain.
Use short, violent actions, sentences, and respond immediately and overwhelm your opponent, retreating when, rarely, opponent gains ground, only to return when use it first to control.
2. act like a child who wants to please the parents once they return (we were all one once, and others' relative absence can serve for the roles)
3. produce a metaphor of your life's greatest fears with various features of making a trade, so that you feel as if you lessened them once you completed the features
4. post 78 has starters for others
5. gut interpretation - centric one --
A initial contact -- parallel view: CONFUSION
B study impression -- gut instinct reading: DISTRACTION
C attitude for room to think -- making the gut instinct reading mostly unconscious, except for where the pivot is: PUT IN ANOTHER PLACE
D trust -- expansion of the gut-instinct reading's pattern's energetic expansion,
following various technical levels: TANGENT
E wisdom -- letting go of possibilities on the chart's ignored information, to allow closure: EXHAUSTION


--> Make your own:

conscious awareness (92, all lines)--
slice of spacetime the structure and its activities take,

rank with others,

and definition it has


space ---- personal-space structure and surround-area structure
time ---- ffcndtnbb before, (post#268 lines 14-5, 25-31: description; 50 lines 47-51: instantly do one; 97 lines 7-8 choose one version; condition ; ff-bb, respectively: with < narrow focus, > widen focus; prejudging to be | subdominant (low) - dominant (high) action, on-the-level action; . negative emotion - ` positive emotion),
act -- during (Area, draw TL's from:
1. ellipse centerline on edge of
2. anchor turn and modified-line logr fan that is an
3. midline from or divergence as or ninety-degree angle of
4. level or weighted opposition, copy series, or hi-lo compromise
5. aligned turn pivots; bunched runs inside; time zones separating instances of a repeated (over developing) pattern and/or even waves; flat line; or, tiny balances)
gut -- after ((85 text in middle of picture for an example; 91 lines 93-102 to fit it in; and, shown below, a composite list of all variables through graph description of amount used;
- dot and structure A hi-lo false reading is noticeable with flighty, chemically irregular attention that mistrusts experience. A trade series tends to get nervous and then impulsive, the trader swept along to allow one's gut to catch on.
- whole pattern Gut in level-flip may be well-reasoned if partial trade is taken. Several in, helplessness may set vs. resolve, strong emotion cloud thought.
- a different pattern A series of gut feelings play a role in a more important scenario now in crisis. Resolution may counter profit after correct trading gut.















or, you can climb into my spaceship and draw a pretty picture


























Any way you look at it, this method is a list of shapes one needs thousands of hours of experience to do well drawing TL's from on the chart, an unscientific approach to trading psychology, and a style of discretionary trading that makes mince meat of any mm one might try.





Nevertheless, I trod on, Hope leading the way.


















-----------------------------------------------------------------------------

(post#1: slight rewrite, increases usefulness)

Yet more absurdity,
only worse: I take it seriously. Eek.

the premade: one's regular trading dot, simple; 2-dot, simple; 3-dot; 2-dot, complex; dot, complex
. dot, intersect
Gutsay create a dot of a person, a personal space. Gut is more a solid dot with a defined pattern within it, more resistant to change; say is flexible, anchoring from a dot or simulating a gut-like dot to emphasize the dot as a concept to connect to others. One could also think of say as a fill-in for a frame sliced into time at one instant, and thus is a dot on the time spectrum, such as a news event would be for a symbol.
ff-bb IS, (post#268 lines 14-5, 25-31: description; 50 lines 47-51: instantly do one; 97 lines 7-8)
and others... cc, which is like gut; r-pt, which is a dot; and so on.
gut --((85 text in middle of picture for an example; 91 lines 93-102 to fit it in; and, shown below, a composite list of all variables through graph description of amount used) personal, surround:

may ignore above this line
Gut is about how it fills in its spot to create impact, or where it anchors to begin a wavelength. Chart remakers:
- .,.. pattern Unknown opposes, flips. Strong emotion resist gut: helpless.
- ... dot and structure Hi-lo read, irregular attend, mistrust gut: nervous -> impulsive -> swept along until gut returns.
- .,.. another A series in crisis (level, speed) scenario, replaces trade's, vs. profit.
say Say is about where it anchors to begin its wavelength, or how it fills in a spot to create impact. Chart remakers:
` blank slate, ` one clear note, ` hi/lo-pstn, ` momo-time delays, ` busy (rampant static / repeated runup / multi-directional one-tone)
.. level, anti- angles, partial candles on
rank subdominant/on-the-level/dominant
definition focus / selected <>; emotion / catches on +-
from or divergence as
... cycle, series patterns / interpattern
copy series single-reason-at-a-time, also called a repeating-pattern cycle
copy series Time Zones, that is, vertical lines between each pattern;
copy proxy
.. logr-midline, alternating midline
grid or viral grid, which grids the area with boxes made of midlines, viral in several areas
trend centerline, which doubles above or below, or its middle connects with other middles
or ninety-degree angle, that is, corner, of
anchor turn and modified-line logr
to fan
or, if level logr's stop and rebound off plus a few faint pivot turns, a trendline;
and, ellipse to define a logr and to get a centerline from the edge of
. balance, shape that is in patterns / intrapattern
copy opposition, hi-lo compromise;
trap-and-stretch, empty-pattern filler;
aligned turn pivots, flat line;
bunched runs inside, tiny balances


-----------------------------------------------------------------



** ONE MAY IGNORE ALL BELOW:


premade:



1. Practice close-minded, violent control:
Label everybody/thing, the label exactly describing every motion the labelled can possibly make. Control the other: Have a better label and leverage it vs. anything the other does (laughter) and get closer to attack without getting hurt oneself (rage). emotions: laughter, rage.
Repetition is your ally, insult your wound: Remove a slice from the other's life so it never recovers fully.
The other should leap away from you, scream for mercy and threaten you with a higher, righteous authority, all of which is in vain.
Use short, violent actions, sentences, and respond immediately and overwhelm your opponent, retreating when, rarely, opponent gains ground, only to return when use it first to control.
2. act like a child who wants to please the parents once they return (we were all one once, and others' relative absence can serve for the roles)
3. produce a metaphor of your life's greatest fears with various features of making a trade, so that you feel as if you lessened them once you completed the features
4. post 78 has starters for others
5. gut interpretation - centric one --
A initial contact -- parallel view: CONFUSION
B study impression -- gut instinct reading: DISTRACTION
C attitude for room to think -- making the gut instinct reading mostly unconscious, except for where the pivot is: PUT IN ANOTHER PLACE
D trust -- expansion of the gut-instinct reading's pattern's energetic expansion,
following various technical levels: TANGENT
E wisdom -- letting go of possibilities on the chart's ignored information, to allow closure: EXHAUSTION

Designing and conditioning to work within a premade:


























Any way you look at it, this method is a list of shapes one needs thousands of hours of experience to do well drawing TL's from on the chart, an unscientific approach to trading psychology, and a style of discretionary trading that makes mince meat of any mm one might try.





Nevertheless, I trod on, Hope leading the way.



----------------------------------------------------------------------


Oh, and this:

Destruction of natural habitat is confused with a usual turn of events, so that only those to be lost can tell of new conditions.


"Among the details about the game that I'm looking for are as follows: the game should be fairly realistic (i.e. no magic, no superheroes, no futuristic technology, no random flying around, etc.), there should be no story line (an open-ended game), good graphics would be preferable, and there should be a large number of things that you can do (i.e. you aren't limited to doing a small handful of tasks). It would be a plus if the game was free or extremely cheap (though I doubt a game of this nature will be) and fairly new." -- Sims gone






The " the premade: one's regular trading " is as good as line patterns, with smaller shapes. At least upon first try.
Any of this is high creativity, discretionary and experience, so no fooling anyone, it's tough. I'm just saying...

(post#1: rewrite)

Just doing another because really shortened it this time.













shape
- copy series single-reason-at-a-time, copy series Time Zones, copy proxy
- grid or viral grid, trend centerline, ninety-degree angle, that is, corner, of,hz/00-50
- fan or, if level logr's stop and rebound off trendline; ellipse logr, tilde, or centerline
- copy or flip-copy opposition, hi-lo compromise;trap-and-stretch, empty-pattern filler, angle divergence; aligned turn pivots, bunches, flat line
math
ff-bb position -- rank subdominant/on-the-level/dominant; focus <>; emotion +-
gut imbalance -- pattern Unknown opposes, gut flips. Strong emotion resist gut: helpless.
dot and structure Hi-lo read, irregular attend, mistrust gut: nervous -> impulsive -> return of gut
another A gut series in crisis (level, speed) scenario, replaces trade's gut, vs. profit.
say amount -- ` blank slate, ` one clear note, ` hi/lo-pstn, ` momo-time delays, ` busy (rampant static / repeated runup / multi-directional one-tone)











(post#1 dump)

Dumping the rest.










----------------------------------------------------------------------------





ONE MAY IGNORE ALL BELOW:



Nontrading premades:



1. Practice close-minded, violent control:
Label everybody/thing, the label exactly describing every motion the labelled can possibly make. Control the other: Have a better label and leverage it vs. anything the other does (laughter) and get closer to attack without getting hurt oneself (rage). emotions: laughter, rage.
Repetition is your ally, insult your wound: Remove a slice from the other's life so it never recovers fully.
The other should leap away from you, scream for mercy and threaten you with a higher, righteous authority, all of which is in vain.
Use short, violent actions, sentences, and respond immediately and overwhelm your opponent, retreating when, rarely, opponent gains ground, only to return when use it first to control.
2. act like a child who wants to please the parents once they return (we were all one once, and others' relative absence can serve for the roles)
3. produce a metaphor of your life's greatest fears with various features of making a trade, so that you feel as if you lessened them once you completed the features
4. post 78 has starters for others
5. gut interpretation - centric one --
A initial contact -- parallel view: CONFUSION
B study impression -- gut instinct reading: DISTRACTION
C attitude for room to think -- making the gut instinct reading mostly unconscious, except for where the pivot is: PUT IN ANOTHER PLACE
D trust -- expansion of the gut-instinct reading's pattern's energetic expansion,
following various technical levels: TANGENT
E wisdom -- letting go of possibilities on the chart's ignored information, to allow closure: EXHAUSTION

Designing and conditioning to work within a premade:

a pattern in a circle-area to that circle-area a dot to work from.
Gutsay create a dot of a person, a personal space. Gut is more a solid dot with a defined pattern within it, more resistant to change; say is flexible, anchoring from a dot or simulating a gut-like dot to emphasize the dot as a concept to connect to others. One could also think of say as a fill-in for a frame sliced into time at one instant, and thus is a dot on the time spectrum, such as a news event would be for a symbol.
ff-bb IS, (post#268 lines 14-5, 25-31: description; 50 lines 47-51: instantly do one; 97 lines 7-8) what is in the circle / dot, the pattern -- fight-or-flight response, which is a physical pattern itself, and gone toward from the dot, the broadening "response". Others that reformat it:
cc, which is an ff in the brain;
r-pt, which is a dot one's action strings take energy from;
the gap from sp (in brain core) / pure-math action and to (flow/) cb's electric comparison of object and axes of action, which expresses a mistake;
impression / bc to cb, which builds on or breaks down a mistake;
flow / cb to bc / impression, which presents a mistake on the same level as a correct action;
flow / cb to attention, which is a shock-like electric response that initiates defensive to offensive protective behavior stemming from ff and avoidance of bb,
and overwhelm to going along with sacrificial behavior stemming from bb and avoidance of ff;
and so on.
gut --((85 text in middle of picture for an example; 91 lines 93-102 to fit it in; and, shown below, a composite list of all variables through graph description of amount used) personal, surround:

trading premade dot, simple; 2-dot, simple; 3-dot; 2-dot, complex; dot, complex
. dot, intersect
Intersect dot is about dealing with perspective of one or more areas. Gut (i/o), ff-bb (i) say (o)
ff-bb IS, (post#268 lines 14-5, 25-31: description; 50 lines 47-51: instantly do one; 97 lines 7-8) what is in the circle / dot, the pattern -- fight-or-flight response, which is a physical pattern itself, and gone toward from the dot, the broadening "response". ff Serial vs. bb MTF.
Gut is about how it fills in its spot to create impact, or where it anchors to begin a wavelength. Chart remakers:
- [i]





say Say is about where it anchors to begin its wavelength, or how it fills in a spot to create impact. Chart remakers:














Any way you look at it, this method is a list of shapes one needs thousands of hours of experience to do well drawing TL's from on the chart (ex's: 1, ), an unscientific approach to trading psychology, and a style of discretionary trading that makes mince meat of any mm one might try.





Nevertheless, I trod on, Hope leading the way.




















______________________________________________________________________



(post#1 rewrite)











This theory states patterns that compare one or more pieces within itself then make regular pressures shaped like regular polygons of varying degree and L:M ratio.

balance patterns (ordered through one or more pieces within itself)

1. 1 corner (suggested subtypes: stretch, flat, simple, fill, cup),
2. 2 divergence,
3. 2+ series (read based on :
   one-reason-adjust, from a flip and/or opposition with a few to angle micro-rebalancing with several;
   several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others;
   or several, timed),
4. 3 compromise,
5. 3+ shape (bunch / blur; distinct, interlaced portions; separate portions)

-- A subtype, which can also stand on its own if one trades its completion, uses its L,M - like (even vs. jumpy, etc.) portions to regularize and project itself :

L:M -- vertical midline / logr (L:M ratio, degree 1-3 of regular polygons)

1. i LINE..
   midline (may halve) / trendline (one or more minor ones, in total less than an ordinary)
2. i/o ADJ LINE, REGULAR POLYGON..
   trend centerline (may halve, double) / ellipse (one ordinary)
3. o MULTIPLE LINES, REGULAR POLYGONS..
   run (a length may halve, with any number of lengths) / fan (one strong, produces secondary ones)

(post#1 rewrite)

More amateur's schlock. 'Xcuse.

Last one like this for a while, promise.

OBJECTS

pattern groups, # pieces each pattern

1 corner (suggested subtypes: stretch, flat, simple, fill, cup)
2 divergence, angle esp. abstract midlines and anchor points off the price-time line
2+ series (read based on : )
one-reason-adjust, a flip and/or opposition with a few to angle micro-rebalancing with lots;
two interlaced series, one example of each after another;
several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others;
or several, timed
3 compromise
3+ shape (balanced: bunch / blur; distinct, interlaced portions; separate portions)

Logr-to-Midline range / shape complexity types (for any pattern)

1. i LINE..
   trendline (one or more minor ones, in total less than an ordinary) / midline (may halve)
2. i/o ADJUSTABLE LINE, REGULAR POLYGON..
   ellipse (one ordinary) / trend centerline (may halve, double)
3. o MULTIPLE LINES OR REGULAR POLYGONS..
   fan (one strong, produces secondary ones) / run (a length may halve, with any number of lengths)

suggested psych variables for this map-over-momo approach:

1. direction of view (think EMT (Eye Movement Therapy), that is, senses' residual trauma pathways)
2. width of area (ff (<)-bb (>): active use of emotion cycle (fear withdraws,) to adjust it)
3. span toward complexity (active mental picture change (Freeze-Frame,) to overlay drawn views)
4. the (un)known risk of inclusion: ignored/negotiated/superceded
5. study effectiveness (body thinking, especially gut readings, to decide)

Wrong. Another.



(post#1)



























Simultaneously trading more than one positive expectancy strategy, though, can be a very good thing, in so many ways. Especially if they are based on different 1) underlying concepts, 2) market dynamics (trend, retracement, reversal, range), 3) time frames, 4) times of day or 5) currency pairs, to name a few of the ideal key differences. -- here
















Trade gut-decided ff environs:


OBJECTS: study effectiveness (body thinking, especially gut readings))
1 corner (suggested subtypes: stretch, flat, simple, fill, cup)
2 divergence, angle esp. abstract midlines and anchor points off the price-time line
2+ series (read based on : )
one-reason-adjust, a flip and/or opposition with a few to angle micro-rebalancing with lots;
two interlaced series, one example of each after another;
several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others;
or several, timed
3 compromise
3+ shape (balanced: bunch / blur; distinct, interlaced portions; separate portions)

-

precision in the (un)known risk of inclusion: ignored/negotiated/superceded, ito being decided

1. i LINE..
   (logr's') trendline (one or more minor ones, in total less than an ordinary) / midline (may halve)
2. i/o ADJUSTABLE LINE, REGULAR POLYGON..
   ellipse (one ordinary) / trend centerline (may halve, double)
3. o MULTIPLE LINES OR REGULAR POLYGONS..
   fan (one strong, produces secondary ones) / run (a length may halve, with any number of lengths)

ff environs:


Discovering pressures between objects on the map-over-momo
direction of view (think EMT (Eye Movement Therapy), that is, senses' residual trauma pathways ~sense form of ff)
and
width of area (ff (<)-bb (>): active use of emotion cycle (fear withdraws,) to adjust it)
through matching regular polygon one may use to type of pattern found:
Thus, a corner, with only one to consider, often throws off from its anchor as a logr would;
divergence may midline more, at least in concept;
a series with three, such as a proxy, skews like a logr, and a series with two counterweights, like a midline;
a compromise does two, a midline, the third between them, and reaction to the totality a conceptual third, jumping from it as a logr;
and, rebounding off a shape is a logr.

Drawing pressures on the objects-map-over-momo, with Low-drawdown precision in the (un)known risk of inclusion: ignored/negotiated/superceded, ito decisions
and speedily-processable density in
(active mental picture change (ff, here, Freeze-Frame,) to overlay drawn views) for a visual trading decision:

1. i LINE..
   (logr's') trendline (one or more minor ones, in total less than an ordinary) / midline (may halve)
2. i/o ADJUSTABLE LINE, REGULAR POLYGON..
   ellipse (one ordinary) / trend centerline (may halve, double)
3. o MULTIPLE LINES OR REGULAR POLYGONS..
   fan (one strong, produces secondary ones) / run (a length may halve, with any number of lengths)

---------------


Here is a PROPOSED reduction of verbiage in post#1:

Trade gut-decided ff environs:
gut
1 corner (suggested subtypes: stretch, flat, simple, fill, cup)
2 divergence, angle esp. abstract midlines and anchor points off the price-time line
2+ series (read based on : )
one-reason-adjust, a flip and/or opposition with a few to angle micro-rebalancing with lots;
two interlaced series, one example of each after another;
several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others;
or several, timed
3 compromise, center, channel
3+ shape (balanced: bunch / blur; distinct, interlaced portions; separate portions)
- decided (risk: ignored, negotiated or superceded (,))
1. i LINE..
(logr's') trendline (one or more minor ones, in total less than an ordinary) / midline (may halve)
2. i/o ADJUSTABLE LINE, REGULAR POLYGON..
ellipse (one ordinary) / trend centerline (may halve, double)
3. o MULTIPLE LINES OR REGULAR POLYGONS..
fan (one strong, produces secondary ones) / run (a length may halve, with any number of lengths)
ff environs
ff(1: sense (Eye Movement Therapy (trauma pathways), ), ff(2:action (ff-bb,)):
Thus, a corner, with only one to consider, often throws off from its anchor as a logr would;
divergence may midline more, at least in concept;
a series with three, such as a proxy, skews like a logr, and a series with two counterweights, like a midline;
a compromise does two, a midline, the third between them, and reaction to the totality a conceptual third, jumping from it as a logr;
and, rebounding off a shape is a logr.
ff(3:environs, felt-imagined (Freeze-Frame,))
1. i LINE..
(logr's') trendline (one or more minor ones, in total less than an ordinary) / midline (may halve)
2. i/o ADJUSTABLE LINE, REGULAR POLYGON..
ellipse (one ordinary) / trend centerline (may halve, double)
3. o MULTIPLE LINES OR REGULAR POLYGONS..
fan (one strong, produces secondary ones) / run (a length may halve, with any number of lengths)

Another, just ignore please.

The ff-bb attention span in one's various scenarios (with Freeze-Frame or similar) paths trauma for a well-fed gut to match (+) or delimit (-) one's pattern, which reason and experience delivered, to turn oneself at the gut cog and trade however.*

1 corner (suggested subtypes: stretch, flat, simple, fill, cup)
2 divergence, angle esp. abstract midlines and anchor points off the price-time line
2+ series (read based on : )
one-reason-adjust, a flip and/or opposition with a few to angle micro-rebalancing with lots;
two interlaced series, one example of each after another;
several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others;
or several, timed
3 compromise, center, channel
3+ shape (balanced: bunch / blur; distinct, interlaced portions; separate portions)

Thus, a corner, with only one to consider, often throws off from its anchor as a logr would;
divergence may midline more, at least in concept;
a series with three, such as a proxy, skews like a logr, and a series with two counterweights, like a midline;
a compromise does two, a midline, the third w/them, and reaction to all a third, jumping from it as a logr;
and, rebounding off a shape is a logr.

1. i LINE..
(logr's') trendline (one or more minor ones, in total less than an ordinary) / midline (may halve)
2. i/o ADJUSTABLE LINE, REGULAR POLYGON..
ellipse (one ordinary) / trend centerline (may halve, double)
3. o MULTIPLE LINES OR REGULAR POLYGONS..
fan (one strong, produces secondary ones) / run (a length may halve, with any number of lengths)













*personal use, to go from and to ordinary life, here












---------------------------------------------------------------

1 corner (suggested subtypes: stretch, flat, simple, fill, cup)
2 divergence, angle esp. abstract midlines and anchor points off the price-time line
2+ series (read based on : )
one-reason-adjust, a flip and/or opposition with a few to angle micro-rebalancing with lots;
two interlaced series, one example of each after another;
several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others;
or several, timed
3 compromise, center, channel
3+ shape (balanced: bunch / blur; distinct, interlaced portions; separate portions)

Thus, a corner, with only one to consider, often throws off from its anchor as a logr would;
divergence may midline more, at least in concept;
a series with three, such as a proxy, skews like a logr, and a series with two counterweights, like a midline;
a compromise does two, a midline, the third w/them, and reaction to all a third, jumping from it as a logr;
and, rebounding off a shape is a logr.

1. i LINE..
(logr's') trendline (one or more minor ones, in total less than an ordinary) / midline (may halve)
2. i/o ADJUSTABLE LINE, REGULAR POLYGON..
ellipse (one ordinary) / trend centerline (may halve, double)
3. o MULTIPLE LINES OR REGULAR POLYGONS..
fan (one strong, produces secondary ones) / run (a length may halve, with any number of lengths)













personal use, to go from and to ordinary life:
Trade goes from concrete to abstract, so use here from cookie-cutter abstract -- only one geometric shape, in its various places and renditions in the given picture, a session or at a time, to warm up and cool down -- to organic concrete -- work it toward a trading session's.
Then, abstract one trading problem as it happens into a simple geometric shape -- ., o, ~, |, or (frame), for instance --, trace all instances of this shape being in the picture above, and return with the correct position in that picture, to allow for decent thinking about the problem, which in turn allows a possible solving of it.

Ignore this post.

Pattern-Shape Meshing

#pts @ to study in detail:
1 divergence, from angled trends, esp. those aligning with abstract midlines and anchor points off the price-time line, rebounding off one is a logr.
1+ shape (balanced: bunch / blur 1; distinct, interlaced portions, separate portions 2+)
2 corner (suggested subtypes: stretch, flat, simple, fill, cup) , with only one to consider, often throws off from its anchor as a logr would;
2+ series (read based on : )
one-reason-adjust, a flip and/or opposition with a few to angle micro-rebalancing with lots;
two interlaced series, one example of each after another;
several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others; repeats often and easily (>2), a micro-reason breaking it up; or, just two or three, an opposition (2)
or several, timed
3 compromise, center, channel mid's two similar shapes prior to turn, making the third

Each shape is a blend of logr's and midlines, characterizing thru effect the immediate area. One shape does the most extreme blend and drawn objects adapt to it.
1. i LINE..
(logr's') trendline (aligning one or more minor logr's) / midline (may halve)
2. i/o ADJUSTABLE LINE, REGULAR POLYGON..
ellipse or curve (one ordinary) / trend centerline (may halve, double)
3. o MULTIPLE LINES OR REGULAR POLYGONS..
fan (one strong, produces secondary ones) / run (a length may halve, with any number of lengths)

personal use only
1. Watch trading for problem.
2. Pick a symbol -- ., o, ~, |, or (frame) -- to represent problem,
3. and find all the places the symbol is at in here.
4. Solve problem there.
5. Return solution to trading.


-------------------------------------------------------------

(shape with a logr defining it, another with a midline, and a third with a logr and midline)

LOGR-MIDLINE TRACES

#pts @ pattern group to check for logr's and midlines
1 divergence, from angled trends, esp. those aligning with abstract midlines and anchor points off the price-time line, rebounding off one is a logr.
1+ shape (balanced: bunch / blur 1; distinct, interlaced portions, separate portions 2+)
2 corner (suggested subtypes: stretch, flat, simple, fill, cup) , with only one to consider, often throws off from its anchor as a logr would;
2+ series (read based on : )
one-reason-adjust, a flip and/or opposition with a few to angle micro-rebalancing with lots;
two interlaced series, one example of each after another;
several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others; repeats often and easily (>2), a micro-reason breaking it up; or, just two or three, an opposition (2)
or several, timed
3 compromise, center, channel mid's two similar shapes prior to turn, making the third

an order of objects can draw: three layers of complexity, each from logr- to midline-
1. LINE..
(logr's') trendline (aligning one or more minor logr's) / midline (may halve)
2. ADJUSTABLE OBJECT..
ellipse or curve (one ordinary) / trend centerline (may halve, double)
3. MULTIPLES OF AN OBJECT..
fan (one strong, produces secondary ones) / run (a length may halve, with any number of lengths)

activity

1. First, I note any midlines with an empty box and any logr's with an empty triangle.
2. Then, I draw in pressures between them with TL's.
3. I make my trade.
4. I hold onto the TL's until the worth of new lines supercedes theirs, at which point I make the old lines invisible for possible later use.
5. When patterns upon an old TL conclusively finish it, I get erase it.

(personal use only)
1. Watch trading for problem.
2. Pick a symbol -- ., o, ~, |, or (frame) -- to represent problem,
3. and find all the places the symbol is at in here.
4. Solve problem there.
5. Return solution to trading.














---------------------------------------------------------------------------

(shape with a logr defining it, another with a midline, and a third with a logr and midline)

LOGR-MIDLINE TRACES

activity

1. First, I note any midlines with an empty box and any logr's with an empty triangle.
2. Then, I draw in pressures between them with TL's.
3. I make my trade.
4. I hold onto the TL's until the worth of new lines supercedes theirs, at which point I make the old lines invisible for possible later use.
5. When patterns upon an old TL conclusively finish it, I get erase it.

objects: simple to complex, each logr- to midline-, some both logr and midline
1. STATIC OBJECT..
(logr's') trendline (aligning one or more minor logr's) / midline (may halve)
2. ADJUSTABLE OBJECT..
multi-area logr / ellipse or curve (one ordinary) / trend centerline (may halve, double)
3. MULTIPLES OF AN OBJECT..
fan (one strong logr makes more) / Fibonacci(,) Time Zone / run (a length may halve or multiply)

logr's and midlines may form pattern groups, divulging a certain # study pts each
1 divergence, from angled trends, esp. those aligning with abstract midlines and anchor points off the price-time line, rebounding off one is a logr.
1+ shape (balanced: bunch / blur 1; distinct, interlaced portions, separate portions 2+)
2 corner (suggested subtypes: stretch, flat, simple, fill, cup) , with only one to consider, often throws off from its anchor as a logr would;
2+ series (read based on : )
one-reason-adjust, a flip and/or opposition with a few to angle micro-rebalancing with lots;
two interlaced series, one example of each after another;
several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others; repeats often and easily (>2), a micro-reason breaking it up; or, just two or three, an opposition (2)
or several, timed
3 compromise, center, channel mid's two similar shapes prior to turn, making the third

psych
Suggested: Adjust attention (ff-gut-bb), meditate on interpersonal scenario (hypnosis, W. Wenger, Ecstatic Poses, HeartMath, mental rehearsal, etc.), exercise to adjust brain chemicals, etc.
(personal use only) I made a direct path to self-change using a conflict model:
A. Watch trading for problem.
B. Pick a symbol -- ., o, ~, |, or (frame) -- to represent problem,
C. and find all the places the symbol is at in here. Put this in a journal.
D. Solve problem there, on paper.
E. Return solution to trading.

mm
A fifth category would be money management, such as draw an SL and a TP TL.





------------------------------------------------------------------------

activity
A. First, I note any midlines with an empty box and any logr's with an empty triangle.
B. I study A. for patterns, starting with averages of several angles for pressures.
C. Then, I draw in pressures between them with TL's and try for order of use.
D. Deciding on order of use, I make my trade.
E. I put old TL's on 'NONE' and, when patterns conclude it, erase.
patterns: a certain # study points each, and examples of type
1 CONTRAST angle, divergence and other, from angled trends, which make it all happen
1+ NEUTRAL shape (balanced: bunch / blur 1; distinct, interlaced portions, separate portions 2+)
2 MERGE corner (suggested subtypes: stretch, flat, simple, fill, cup)
2+ MERGE->CONTRAST series two interlaced series, one example of each after another;
several, hi-lo lines' crossover's set point, 1+ lines a proxy for the others; repeats often and easily (>2), a micro-reason breaking it up; w/2-3, opposite (2) or several, timed
3 CONTRAST->MERGE compromise, center, channel; derives from (mid's,) two similar, turns
objects: simple to complex, each logr- to midline-, some both logr and midline
1. STATIC.. (logr's') trendline (aligning minor logr's) / midline (may halve)
2. ADJUSTABLE.. multi-area logr / ellipse or curve / trend centerline (may halve, double)
3. MULTIPLE.. fan (one logr makes more) / time series / run (a length may halve or multiply)
psych
Suggested: Adjust attention (ff-gut-bb), meditate on interpersonal scenario (hypnosis, W. Wenger, Ecstatic Poses, HeartMath, mental rehearsal, etc.), exercise to adjust brain chemicals and to learn chart actions, etc.
(personal use only) I made a direct path to self-change using a conflict model:
A. Watch trading for problem.
B. Pick a symbol -- ., o, ~, |, or (frame) -- to represent problem,
C. and find all the places the symbol is at in here. Put this in a journal.
D. Solve problem there, on paper.
E. Return solution to trading.
mm
A fifth category would be money management, such as draw an SL and a TP TL.

(shape with a logr defining it, another with a midline, and a third with a logr and midline)

Ignore this post.



(Yes, another.)

































activity choices, 2: logr, midline
A. Draw empty box around midlines, triangle around logr's, preferring high-perfect/sized ones w/> energy.
B. I study A. for anchor patterns, starting with averages of several angles for pressures.
C. Then, I draw in pressures between them with TL's and try for order of use.
D. Deciding on order of use, I make my trade.
E. Before a new trade, I put old TL's in the way on 'NONE' and, when patterns conclude one, erase it.
anchor patterns 2: <1, >1 (portions: one, interlaced or separate)
0 angle, divergence and other, from angled trends, which make it all happen
1 corner (suggested subtypes: stretch, flat, simple, fill, cup)
2 opposition; a variant -- two interlaced series, one example of each after another
3 compromise a series of several: match hi-lo pivots' lines at one point, which goes at a balance near the patterns and sacrifices one or more lines; two, with a third in the middle; the same, as a channel
>3 series repeats often and easily (>2), a micro-reason breaking it up; or several, timed
pressures: drawn objects 2: SL,TP TL's
1. STATIC.. (logr's') trendline (aligning minor logr's) / midline (may halve)
2. ADJUSTABLE.. multi-area logr / ellipse or curve / trend centerline (may halve, double)
3. MULTIPLE.. fan (one logr makes more) / time series / run (a length may halve or multiply)
psych: order of use -- some ideas... 2: i, o of self
- exercise, HeartMath to adjust brain chemicals and wavelengths
- exercise, travel to learn chart actions
- Adjust attention (ff-gut-bb)
- (personal use only) A conflict -- ., o, ~, |, or (frame). Journal ex's of symbol here.
- meditate scenario (hypnosis, W. Wenger, Ecstatic Postures, Freeze-Frame, mental rehearsal, etc.)
trade: mm 2: margin call, compounding
A fifth category would be money management, such as draw an SL and a TP TL.

(shape with a logr defining it, another with a midline, and a third with a logr and midline)

Ignore this post.

(Sorry.)

MISSION STATEMENT

(margin call - move #,prob. - compound) inter- preclosed static/adjustable/multiple TL/ML's on 0-(>3) anchors, chemo-electric attention to auto-do or vs. scenario.

activity choices, 2: logr, midline
A. Draw box around midlines, triangle logr's, ellipse w/mix, each w/>pressure (symmetry*size*speed diff).
B. I study A. for anchor patterns, starting with averages of several angles for pressures.
C. Then, I draw in pressures between them with TL's and try for order of use.
D. Deciding on order of use, I make my trade.
E. Before a new trade, I put old TL's in the way on 'NONE' and, when patterns conclude one, erase it.
anchor patterns 2: <1, >1 (portions: one, interlaced or separate)
0 angle, divergence and other, from angled trends, which make it all happen
1 corner (suggested subtypes: stretch, flat, simple, fill, cup)
2 opposition; small balance ptrns; a variant -- two interlaced series, one example of each after another
3 compromise a series of several: match hi-lo pivots' lines at one point, which goes at a balance near the patterns and sacrifices one or more lines; two, with a third in the middle; the same, as a channel
>3 series repeats often and easily (>2), a micro-reason breaking it up; or several, timed
pressures: drawn objects 2: SL,TP TL's
1. STATIC.. (logr's') trendline (aligning minor logr's) / midline (may halve)
2. ADJUSTABLE.. multi-area logr / ellipse or curve / trend centerline (may halve, double)
3. MULTIPLE.. fan (one logr makes more) / time series / run (a length may halve or multiply)
psych: order of use -- some ideas... 2: i, o of self
- exercise, HeartMath to adjust brain chemicals and wavelengths
- exercise, travel to learn chart actions
- Adjust attention (ff-gut-bb)
- (personal use only) A sketch/auto-do, var. chart-action vs. w/dist., w/., o, ~, |, or (frame), here; v-v.
- meditate scenario (hypnosis, W. Wenger, Ecstatic Postures, Freeze-Frame, mental rehearsal, etc.)
trade: mm 2: margin call, move probabilities and #pips, compounding
A fifth category would be money management, such as draw an SL and a TP TL.

(shape with a logr defining it, another with a midline, and a third with a logr and midline)

------------------------------------

Okay, something else.



This series cancelled itself:

Ignore me and this post.





























ACTION AREA: Path sketch/auto-do, var. chart-action vs. w/dist., symbols . (object), o (role, personal space, etc.), ~ (action path), | (boundary, two-point leverage), or (frame) (artificial/working area), opt'lly here,
to shape own scenario and scenario meditations: hypnosis, W. Wenger, Ecstatic Postures, Freeze-Frame, mental rehearsal, etc. before start work

ANCHOR: Find
0 angle, divergence, angled trends, pressure (symmetry*size*speed diff) 1 corner (subtypes: stretch, flat, simple, fill, cup) 2 opposition; small X&Y-axis balance; two interlaced series; channel; 3 compromise two, with a third after and in the middle; copy proxy (three copies of a pattern, TL on high and low of each, TL's crossed at one point, point taken to a balance point in the price-time line, some TL's useless (a proxy for the others) and others not); >3 series micro-reason traces, calls turn

PRESSURE W/ANCHOR Record 1 logrs' trendline/ one-logr ellipse/fan - midline/ trend centerline/ multi-length run, 2 box around midlines, triangle logr's, ellipse w/mixed

INTERSECTION OF PRESSURE W/ACTION Decide order of use of drawn lines

and,

AFFECT OF INTERSECTION Watch mm: margin call, move probabilities and #pips, compounding SL/TP TL's. Practice brain chemicals and wavelengths; chart actions; attention (ff-gut-bb).

(shape with a logr defining it, another with a midline, and a third with a logr and midline)

1. anchor --
   0 angle - 1 divergence - 2 opposition - 3 compromise - 4+ series
2. line:
   logr / trendline / one-logr ellipse / fan / parallel horizontal or vertical lines of fibonacci or similar distance;
   midline / trend centerline / corner / multi-length run / equidistant parallel horizontal or vertical lines;
   ellipse,
   copy proxy (three copies of a pattern, TL on high and low of each, TL's crossed at one point, point taken to a balance point in the price-time line, some TL's useless (a proxy for the others) and others not) ,
   w/mixed logr-midline areas
3. deform -- stretch, flat, simple, fill, cup, expand, contract, center
4. surround -- news, that is, single-candle, also useful w/MTF single candles
5. size -- starting with small-candle groups; large vs. small areas having a pattern; one- vs. intermittent-area pattern