Pattern's Chemo-Electric Trading Journal

p1 adj:









group -- chunk -- shapes in chart can group to level field, standardize for easier recall.
group -- cohesion at position,alignment w/overall direction, separation from others vs. interaction's bonds.
subconscious separation of data -- The border separates raw,influenced interpretation.
layer -- environs, whole-body(cartilage,gut,),neural plexus, voice, action; energy, context i/o, u/d inter-, in a series+ with a shape for each direction. Ex., build/overlay of a series overlapping.
shape body-midline, brain-logr; count(fib,.5,.3) - (multi-)shape/trend/ray; energy weights to emit - trend angle
volatility -overwhelm(overload, see impulsive), ecstacy(maximum, see condition)
-balanced;O,|; partial -- (of imbalanced shape) minor/dissonant, (i/o:volatility) confusion/doubt, (level and pair) arrogant challenge, polarity, opposition, pairing
-condition(minimum,to complete training even if low energy), impulsive(sub-minimum, repositions energy)
emotion Pre-limits motion w/intent's worth. Pert: builds from glandular chemicals, thus of parallel function to glial cells except for stomach/heart etc. perhaps.
anger tries to rectify or return worth of lost item from taker;
fear avoids stressful situations such as unknown area of trade;
careless (a social emotion based on caring), allowing something to happen because one feels secure in what little one has already done to limit that something's potential affect;
disgust, as in one'd never consider using that, because its data set's emphasis mismatches chart's mores;
surprise off impulsiveness, that is, timing so that leave enough time for extra reason, instead of rushing forward with what have and, dipping into subconsciousness to erase that was impulsive thus greed, surprise.
action fight-or-flight contract - relax/tense shape - broaden-and-build (w/ (4-10):1 +:- emotions)
VS. (picture) (most sources: wikipedia, a popularist)
the higher brain chemicals, related to involved mood /thought --
dopamine use(stress/emotion), in brain reaches only to front third of brain, the working memory / executive area (order->action) from brain stem, regulates voltage, 'theory/plan' hyper-motor : adrenaline, dopamine's precursor, "high alert" of motor ("Stress tends to deplete our store of adrenalin, while exercise tends to increase it. Amphetamines ("speed") work by causing the release of norepinephrine" -- ibid)
serotonin play"gut movements {enteric nervous system -- More than 90% of the body's serotonin lies in the gut; as well as about 50% of the body's dopamine} and the animal's perception of resource availability", learning-play-rest, visual perception only during rest (non-motor);
the lower brain chemicals, both inhibitory/excitatory (moreso, the former) - flow-speed (moreso, the latter) --
GABA group sensory (motor(etc.)inhibit)) (inhibit, vs. excite glutamate, GABA's precursor), sensory of (para)sympathetic ('fight-or-flight'), "regulates muscle tone."/posture, maybe centering fight-or-flight, and note ear's balance area in correlation with acetycholine and the temporal/language;*affected* by a situation, toward the brain, sympathetic
acetycholine effort motor (sensory(etc.)inhibit)) and most of (para)sympathetic ('fight-or-flight'),"flow of energy and information"/responsiveness(awaken/sustain) -- where I contend the inner critic and gaming(trading,sports) both are -- ; ,you *effect* change on someone else, toward the muscles, thus acetycholine and noradrenaline(dopamine) motor/sympathetic, coat neurons and thus involved with glial cells (modulate neurotransmission, same number of as neurons; purpose-wise, similar to the glandular (thus, Pert says, peptides, thus emotions) - support system of the brain (nurture, protect,etc.))




I'm keeping this one, because it turns the corner on how I deal with my own psychology.
The chart study is "shape midline, logr; count(fib,.5,.3) - (multi-)shape/trend/ray; energy weights to emit - trend angle", and everything else is psychology, although it doesn't hurt that all except the four chemicals are written to correspond in the language of shapes.



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A FEW BORROWED CHARTS -- Ignore the given lines / patterns!


new approach: Formation -- pivot set w/weight -- repeated and compared.
(Chart from elsewhere.)


candlework, w/better TL's drawn:




---------


.
Be content with the food. Don't go for the sticky stuff.






-------

First chart above, another example. I don't have the hang of it yet; still, it improved my charting.

this one has nothing to do w/the method.

the two ellipses have their axes at 90d of each other, so I went on and included it as in the method. And, there's a weight right after them.
An even-weighted example, with proper pivots included, and a so-so weight.
I missed why price flattened soon into this last chart. Practice'll tell, I suppose.
Okay, I got it: A fantastic shape, great in that it mixes even with skew, followed the last one. Plus, this weighted pivots shape, literally in the even first (which is almost a 90d corner), dip second, and weight up third, projected the shape of PA for the rest of the chart shown.




p1 partial adj:


(really big deal, neatly adjusts how to use every trend angle in terms of (ito) overall)





energy weights to emit in pattern - trend angle representative of an area and that area's polarity (simplified direction) to get inter-area polarity




--------



.

lots of l.p.5's. This chart's l.p.5 is one-way. (Thus, polarity angles preferable to use l.p.5's (etc.)













p1 new:


(reorg, mostly)







-----PATTERN----- single -overwhelm(overload, see impulsive), ecstacy(maximum, see condition)
-balanced;O,|; partial -- (of imbalanced shape) minor/dissonant, (i/o:volatility) confusion/doubt, (level and pair) arrogant challenge, polarity, opposition, pairing
-condition(minimum,to complete training even if low energy), impulsive(sub-minimum, repositions energy)
TIMES
fight-or-flight contract - relax/tense shape - broaden-and-build (w/ (4-10):1 +:- emotions)
chunk -- shapes in chart can group to level field, standardize for easier recall.
group -- cohesion at position,alignment w/overall direction, separation from others vs. interaction's bonds.
wall (subconscious separation of data) -- The border separates raw,influenced interpretation.
layer -- environs, whole-body(cartilage,gut,),neural plexus, voice, action
series+ count(fib,.5,.3), body-midline - brain-logr, trend angle representative of an area and that area's polarity (simplified direction) to get inter-area polarity; - (multi-)shape/trend/ray, i/o, u/d inter-energy weights to emit in pattern
---------CHART------------
emotion Pre-limits motion w/intent's worth. Pert: builds from glandular chemicals, thus of parallel function to glial cells except for stomach/heart etc. perhaps.
anger tries to rectify or return worth of lost item from taker;
fear avoids stressful situations such as unknown area of trade;
careless (a social emotion based on caring), allowing something to happen because one feels secure in what little one has already done to limit that something's potential affect;
disgust, as in one'd never consider using that, because its data set's emphasis mismatches chart's mores;
surprise off impulsiveness, that is, timing so that leave enough time for extra reason, instead of rushing forward with what have and, dipping into subconsciousness to erase that was impulsive thus greed, surprise.
FOR action (picture)(most sources:wikipedia,a popularist):
serotonin play,rest,visual-isolated perception; resource availability, gut movements More than 90% of the body's serotonin lies in the gut; as well as about 50% of the body's dopamine}
GABA group sensory (to-brain) of 'fight-or-flight'; posture, maybe centering fight-or-flight, and note ear's balance area in correlation with acetycholine and the temporal/language;*affected* by a situation, toward the brain, sympathetic
acetycholine effort motor of 'fight-or-flight',"flow of energy and information"/responsiveness(awaken/sustain); glial cells one a neuron, cares (nurture, protect,etc.)) for
dopamine useto executive area (order->action) ,'theory/plan' hyper-motor : adrenaline, dopamine's precursor, "high alert"

p1 retitled, moved sections around, same material:







. stimulus/response -overwhelm(overload, see impulsive), ecstacy(maximum, see condition)
-balance;O,|; almost everything in people and charts is partially balanced and dependent on others to complete balance on an ever-adapting timeline, so emphasizes partial -- (of imbalanced shape) minor/dissonant, (i/o:volatility) confusion/doubt, (level and pair) arrogant challenge, polarity, opposition, pairing
-condition(minimum,to complete training even if low energy), impulsive(sub-minimum, repositions energy)
TIMES
fight-or-flight contract - relax/tense shape - broaden-and-build (w/ (4-10):1 +:- emotions)






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





.an oldie -- stack, where price runs vertical, stopping at equidistance spots along the way, so that the first stack angles down, the next sideways, and the last up. A little variation to this stack.






Okay, now for a little novelty. You've seen it before, likely, only to recognize its effectiveness is another thing. I call it an anti-triangle, where trend angles go inward, never touching or aligning, just skewing toward each other so that one of them acts as the third (anti-)point of a triangle. I could consider it a type of 'compromise', since a compro uses s/r lines from pivots or similar to the same effect.


Oh, and that's an l.p.3 off a balance, the fan that is, with its screen the midpoint of an ellipse.










This one got me. I don't know WHAT the f it is. I had to draw it in by hand, it was so specious to me.
Yet, it's GOTTA mean something (besides my umpteenth margin call)!!!!



Okay -- a multi-pivot with weight? I liked that one.
it's just...so...complETE!!!!!!
and why, I don't get it....

I mean, I could say it's logr-midline and be done with it.
And throw in a curve in the middle of l-m.
And the count, the flats with perfect s/r's, even the high-low doing so...
And a vertical high low----- I'm onto something, maybe....

flat, high-low; vert,hz,crossover
logr-curve-midline
YUP.
And yet, THIS is representative?!
Wow.
And why put logr-curve-midline separate,
the crossover and CURVE?! getting logr and the midline getting flat and high-low and opp-shapes balance (upmost left, not shown)
-- Not bad.

logr -- crossover, curve
midline -- flat, high-low (v,h), opp-shapes

So under this organization, a stack is an opp-shapes type of vertical high-low that otherwise is very flat.


p1 -- new blue w/this, besides crucial balance for chart itself (self (two sides), pairs).




The real of this (ten charts) --


(it being aLOT to digest each trade, and apparently I have to; hmmph!)

.

. last one:





Recall the drawing -- See how useful it was, now?

Anyway, snappish'll get me nowhere.
The point is, logr-midline becomes complete.
Oh, you can throw in trend angles for extra strength measured,
and polygons and other multi-lines are alternates.\















1







---------CHART------------
. stimulus/response -overwhelm(overload, see impulsive), ecstacy(maximum, see condition)
-balance;O,|; almost everything in people and charts is partially balanced and dependent on others to complete balance on an ever-adapting timeline, so emphasizes partial -- (of imbalanced shape) minor/dissonant, (i/o:volatility) confusion/doubt, (level and pair) arrogant challenge, polarity, opposition, pairing
-condition(minimum,to complete training even if low energy), impulsive(sub-minimum, repositions energy)
TIMES
fight-or-flight contract - relax/tense shape - broaden-and-build (w/ (4-10):1 +:- emotions)
. emotion Pre-limits motion w/intent's worth. Pert: builds from glandular chemicals, thus of parallel function to glial cells except for stomach/heart etc. perhaps.
anger tries to rectify or return worth of lost item from taker;
fear avoids stressful situations such as unknown area of trade;
careless (a social emotion based on caring), allowing something to happen because one feels secure in what little one has already done to limit that something's potential affect;
disgust, as in one'd never consider using that, because its data set's emphasis mismatches chart's mores;
surprise off impulsiveness, that is, timing so that leave enough time for extra reason, instead of rushing forward with what have and, dipping into subconsciousness to erase that was impulsive thus greed, surprise.
. action (picture)(most sources:wikipedia,a popularist): note -- While serotonin and (adrenaline/)dopamine are the higher, serotonin/GABA are stillness (or movement within) to acetylcholine/(adrenaline/)dopamine's action.
serotonin play,rest,visual-isolated perception; resource availability, gut movements More than 90% of the body's serotonin lies in the gut; as well as about 50% of the body's dopamine}
GABA group sensory (to-brain) of 'fight-or-flight'; posture, maybe centering fight-or-flight, and note ear's balance area in correlation with acetycholine and the temporal/language;*affected* by a situation, toward the brain, sympathetic
acetylcholine effort motor of 'fight-or-flight',"flow of energy and information"/responsiveness(awaken/sustain); glial cells one a neuron, cares (nurture, protect,etc.)) for
dopamine useto executive area (order->action) ,'theory/plan' hyper-motor : adrenaline, dopamine's precursor, "high alert"
-----PATTERN-----
. wall (subconscious separation of data) -- The border separates raw,influenced interpretation.
group -- cohesion at position,alignment w/overall direction, separation from others vs. interaction's bonds.
layer -- environs, whole-body(cartilage,gut,),neural plexus, voice, action
chunk -- shapes in chart can group to level field, standardize for easier recall.
. series+ Body-midline - brain-logr,
logr -- triangle, crossover, curve; midline -- flat rectangle, high-low (v,h), opp-shapes.
-- count(fib,.5,.3),(multi-)shape/ray/trend, that is, polygons and other multi-lines --
trend angle representative of an area and that area's polarity (simplified direction) to get inter-area polarity ; - , i/o, u/d inter-energy weights to emit in pattern





1







balance;O,|; almost everything in people and charts is partially balanced and dependent on others to complete balance on an ever-adapting timeline, so emphasizes partial -- (of imbalanced shape) minor/dissonant, (i/o:volatility) confusion/doubt, (level and pair) arrogant challenge, polarity, opposition, pairing
-condition(minimum,to complete training even if low energy), impulsive(sub-minimum, repositions energy)

logr -- triangle, crossover, curve; midline -- flat rectangle, high-low (v,h), opp-shapes.
-- count(fib,.5,.3),(multi-)shape/ray/trend, that is, polygons and other multi-lines --
trend angle representative of an area and that area's polarity (simplified direction) to get inter-area polarity



----------





From here, Einstein's Brownian-motion formula
applied to short, small 1'TF patterns that are given appropriate line projected from its average and candle-wise signficant midline,
has the square of each pattern's distance (tacking on extra days for the weekends) and the midpoint of the appropriate line also significant.
At each of the mid- and endpoint is a Gann Fan going up or down,
the mid- or endpoint being a significant turn in price action,
and the effectiveness of one of these fans varying with the other one.
And, pseudo-Brownian-motion lines, which dependent on naturally vertical lines to position the fans and their direction, also exist with longer patterns within which midpoints select a trendline-specific pattern within the larger pattern -- that is, small in relation to the amount of total space relevant, rather than the horizontal brevity.



p1 adj, partial addition:






projection((screen-pseudo)sqrt[len(shape(s))],opp-side line segment)






-- includes a line segment with a shape on one end and its mirror opposite on the other end.
The notion of 'projection' goes with and right after that of 'count',
and before that of '(multi-)shape'.
Also, pseudo-: 'later vertical screens (as with l.p.3) or turn (w/l.p.5))' .





p1 entirety:









--chart--
stimulus/response -overwhelm(overload, see impulsive), ecstacy(maximum, see condition)\
balance;O,|; almost everything in people and charts is partially balanced and dependent on others to complete balance on an ever-adapting timeline, so emphasizes partial -- (of imbalanced shape) minor/dissonant, (i/o:volatility) confusion/doubt, (level and pair) arrogant challenge, polarity, opposition, pairing
-condition(minimum,to complete training even if low energy), impulsive(sub-minimum, repositions energy)
--pattern--
logr -- triangle, crossover, curve; midline -- flat rectangle, high-low (v,h), opp-shapes.
transposes meaning attached when is near* a new
trend angle representative of an area and that area's polarity (simplified direction) to get inter-area polarity
on the other side of that attachment, and
-- count(fib,.5,.3) / projection((screen-pseudo)sqrt[len(shape(s' partial for midline, later vertical screens (as with l.p.3) or turn (w/l.p.5)))],opp-side line segment) / (multi-)shape/ray/trend, that is, polygons and other multi-lines --
projects a trendline (or other shape or itself)


* 0 vector boundary -- exchange of rejection or acceptance
1 whole shell -- rejection or acceptance as enter
2 corner-from or split-to series -- self-rejection/acceptance through cue aligning for scripted responses
3 line scenario -- imagined and separate environs w/diff't responses
5 particulate cycle -- acceptance as possible interpretations found at each level one touches.
-- applicable chart context (boundary(one any,extra level),shell(one any,multi-level),series(level with multiple points,multi-point),scenario(one level,extra level, each with multiple points),cycle(multi-level, each with multiple points)).







revision: It's a cycle discoverer, this Brownian-motion squaring of a small, short pattern's width. First, draw a midline there. Then, place a Gann Fan on the cycle turn which is at point on the extension of this midline and at the intersection of it with the theoretical (squaring) or real (price action's pure vertical balance around the extended line thereof).



--pattern--
logr -- triangle, crossover, curve; midline -- flat rectangle, high-low (v,h), opp-shapes.
transposes meaning attached when is near* a new
trend angle representative of an area and that area's polarity (simplified direction) to get inter-area polarity
on the other side of that attachment, and
-- count(fib,.5,.3) / projection(cycle (midline of regular shape near vertical space [(screen-pseudo)sqrt[len(shape(s' partial for midline, later vertical screens (as with l.p.3) or turn (w/l.p.5)))]],opp-side line segment) / (multi-)shape/ray/trend, that is, polygons and other multi-lines --
projects a trendline (or other shape or itself)



....Idea's still rough, will keep working on it. Plus, does the pattern of the weighted pivot-set series have anything to do with it?

Yes, and a ratio of shape-to-projection emerged;
thus, a new p1:






--chart--
stimulus/response -overwhelm(overload, see impulsive), ecstacy(maximum, see condition)\
balance;O,|; almost everything in people and charts is partially balanced and dependent on others to complete balance on an ever-adapting timeline, so emphasizes partial -- (of imbalanced shape) minor/dissonant, (i/o:volatility) confusion/doubt, (level and pair) arrogant challenge, polarity, opposition, pairing
-condition(minimum,to complete training even if low energy), impulsive(sub-minimum, repositions energy)
helpful with 'balance' in everyday life:
0 vector boundary -- exchange of rejection or acceptance
1 whole shell -- rejection or acceptance as enter
2 corner-from or split-to series -- self-rejection/acceptance through cue aligning for scripted responses
3 line scenario -- imagined and separate environs w/diff't responses
5 particulate cycle -- acceptance as possible interpretations found at each level one touches.
-- applicable chart context (boundary(one any,extra level),shell(one any,multi-level),series(level with multiple points,multi-point),scenario(one level,extra level, each with multiple points),cycle(multi-level, each with multiple points)).

--pattern-- that projects a trendline, in order of, from zero to infinite, shape-to-projection ratio

1. internally-adjusting shapes to adjust the series of them, or same only simpler and aligned w/a simple, time-extreme line or shape
2. logr -- triangle, crossover, curve; midline -- flat rectangle, high-low (v,h), opp-shapes.
   transposes meaning attached when is near a new
   trend angle representative of an area and that area's polarity (simplified direction) to get inter-area polarity
   on the other side of that attachment, and
3. -- count(fib,.5,.3) / projection(cycle (midline of regular shape near vertical space [(screen-pseudo)sqrt[len(shape(s' partial for midline, later vertical screens (as with l.p.3) or turn (w/l.p.5)))]],opp-side line segment) /
4. weighted pivot-set series, perfect repeated in a series with size and proportions adjusted and lines projecting from them,
5. single (multi-)shape/ray/trend, that is, polygons and other multi-lines, and lines projecting only from it/them with no subsequent shapes connected--
   projects a trendline (or other shape or itself)

some Brownian-motion projections,
the last a pure one (thus, dependent on dropping a vertical line from the midpoint of the squared-time-of-the-original-pattern's-(time)width extension;
this is vs. a pseudo-, which has a (near-)vertical line that's real price action surrounding it)
with all its lines (the two pairs of vertical line and Gann Fan)

example one, a pseudo- -- only the orange line (and the small pattern surrounding its base)

example two, a pseudo- -- only the thickest line (and small pattern surrounding its base)

example three, a pure (with a long base, which is average length) -- only the thick midline helps determine pattern to use, and long, thick line is the small-and-close-to-midline extension

example four, a pure (with a short base, thus possible crossover use of fans) -- chart one of three; not the two horizontal lines

2

3

brownian cycle projections, continued --

a failed one:
this apparent descending triangle, which failed anyway, is more a large chaos organizing into perhaps a small bcp;
I ignore it, because the organizing principle, that of the failed descending triangle, trumps that of the bcp being useful.
Perhaps if I consider another type of pattern in the range of patterns that form if surrounding the idea of bcp's;
that is, an l.p. 5 or an extreme-line type,
and then the bcp makes sense.
Anyway, here's the chart of the failed -- or should I say, mixed, bcp:



Okay, found one by midlining in the failed desctri.
Nice thing, is it's a pure bcp that has a divided run near the projection's midpoint -- another revealing example.
Due to this, though, the downward Gann Fan doesn't see much action.



bright orange lines (trending,vertical,fan) only, in rest of charts in this post and the first chart in the next post

last chart shows last valid use of the bcp's down fan-- hey, ordinarily I don't like it not touching,
only that endpoint projected a Gann fan from an awfully midlinish area confirming fan use, so gaps rarely happen
(think logrs' spikes may too, now that I think of it, on occasion; haven't really gotten too much into this)
-- I don't know, maybe I could've adjusted my fan, but then
-- well, the stronger, midpoint fan did take over
-- no, the two fans spread too much for that, again maybe due to the high midlinishness of the endpoint fan (an old rule of mine: high-midline flats lurch, high-logr flats curl):





p1, new:








--chart--
stimulus/response -overwhelm(overload, see impulsive), ecstacy(maximum, see condition)\
balance;O,|; almost everything in people and charts is partially balanced and dependent on others to complete balance on an ever-adapting timeline, so emphasizes partial -- (of imbalanced shape) minor/dissonant, (i/o:volatility) confusion/doubt, (level and pair) arrogant challenge, polarity, opposition, pairing
-condition(minimum,to complete training even if low energy), impulsive(sub-minimum, repositions energy)
helpful with 'balance' in everyday life:
0 vector boundary -- exchange of rejection or acceptance
1 whole shell -- rejection or acceptance as enter
2 corner-from or split-to series -- self-rejection/acceptance through cue aligning for scripted responses
3 line scenario -- imagined and separate environs w/diff't responses
5 particulate cycle -- acceptance as possible interpretations found at each level one touches.
-- applicable chart context (boundary(one any,extra level),shell(one any,multi-level),series(level with multiple points,multi-point),scenario(one level,extra level, each with multiple points),cycle(multi-level, each with multiple points)).

--pattern-- that projects a trendline, in order of, from zero to infinite, shape-to-projection ratio

1. internally-adjusting shapes to adjust the series of them, or same only simpler and aligned w/a simple, time-extreme line or shape
2. logr -- triangle, crossover, curve; midline -- flat rectangle, high-low (v,h), opp-shapes.
   transposes meaning attached when is near a new
   trend angle representative of an area and that area's polarity (simplified direction) to get inter-area polarity
   on the other side of that attachment, and
3. count(fib,.5,.3) / projection (brownian cycle projections, opp-side-shapes line segment)
4. weighted pivot-set series, perfect repeated in a series with size and proportions adjusted and lines projecting from them,
5. single (multi-)shape/ray/trend, that is, polygons and other multi-lines, and lines projecting only from it/them with no subsequent shapes connected--
   projects a trendline (or other shape or itself)

--------



Projections are next to count,
on the pcb-organized list of all patterns;
this counts vertically in conflicting ways.
I traded what hadn't been figured into price yet, after the initial bounce up right after the trade in.
Lots of back and forth, including a weak desctri (its insides probably skewed the results) and cup and handle after it:

Reentered same direction, and this second trade gets completed in the last chart, exiting the bounded area in favor of fulfilling the noted upward compression:

.



p1 adj:

('squared', not a fancy physics name;
also adjusted pattern section's subtitles)






--chart--
stimulus/response -overwhelm(overload, see impulsive), ecstacy(maximum, see condition)\
balance;O,|; almost everything in people and charts is partially balanced and dependent on others to complete balance on an ever-adapting timeline, so emphasizes partial -- (of imbalanced shape) minor/dissonant, (i/o:volatility) confusion/doubt, (level and pair) arrogant challenge, polarity, opposition, pairing
-condition(minimum,to complete training even if low energy), impulsive(sub-minimum, repositions energy)
helpful with 'balance' in everyday life:
0 vector boundary -- exchange of rejection or acceptance
1 whole shell -- rejection or acceptance as enter
2 corner-from or split-to series -- self-rejection/acceptance through cue aligning for scripted responses
3 line scenario -- imagined and separate environs w/diff't responses
5 particulate cycle -- acceptance as possible interpretations found at each level one touches.
-- applicable chart context (boundary(one any,extra level),shell(one any,multi-level),series(level with multiple points,multi-point),scenario(one level,extra level, each with multiple points),cycle(multi-level, each with multiple points)).
--pattern--
that projects a trendline, in order of, from lots to one, shape-to-projection ratio
WHERE RANDOMNESS HITS (WHEN YOU ENTER TIMEFRAME?; ANYWAY...)
(NOTE: Ex's coincidentally shape itself also 1 partial 2-3 dense-partial 4-5 dense. Needn't be this way.)
1.CANDLE internally-adjusting shapes to adjust the series of them, or same only simpler and aligned w/a simple, time-extreme line or shape
2. CYCLE-INHERENT SHAPES: LOGR, MIDLINE, TREND ANGLES logr -- triangle, crossover, curve; midline -- flat rectangle, high-low (v,h), opp-shapes.
transposes meaning attached when is near a new
trend angle representative of an area and that area's polarity (simplified direction) to get inter-area polarity
on the other side of that attachment
3. LINE SEGMENT W/INTERSPERSED SHAPES ON IT count(fib,.5,.3) / projection (squared (i.e., a brownian cycle projection -- squares the width of the pattern, then projects the pattern's midline to that (and half that) length, placing momentum fan at each of half and midpoint of projecting line segment; see also posts), opp-side-shapes type of line segment)
4. COMPOUND I.E. GROUP OF REGULAR SHAPES weighted pivot-set series, perfect repeated in a series with size and proportions adjusted and lines projecting from them,
5.SINGLE SHAPE single (multi-)shape/ray/trend, that is, polygons and other multi-lines, and lines projecting only from it/them with no subsequent shapes connected--
projects a trendline (or other shape or itself)




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



p1 adj:


overwhelm -- candles actin' up
ecstasy -- C:L:M trend angles
balance -- opp ls, ls2, ellipse on a stick
condition -- lp5,3
impulse -- (regular polygons)



-- added C: (curve) too late for one trade.





p1 adj:







candles form special series, oft w/unshown info to support it
cycle w/limited projection -- C:L:M trend angles, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)








p1 adj:





Note what's vs., isolated,w/direction for each:
candles form special series, oft w/unshown info to support it
cycle w/limited projection -- C:L:M trend angles, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)




p1 adj:




Note direction and what's vs., isolated,w/it for each:
candles form special series, oft w/unshown info to support it
cycle w/limited projection -- C:L:M trend angles, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)



p1 adj:




Note apparent direction and whether it's versus, isolated from or with the rest of the chart:
candles form special series, oft w/unshown info to support it
cycle w/limited projection -- C:L:M trend angles, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)





p1 adj:




Note apparent direction and if it's versus, isolated from or with chart area(s):
candles form special series, oft w/unshown info to support it
cycle w/limited projection -- C:L:M trend angles, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)





p1 adj:




Note apparent direction, if it's versus, isolated from or with chart area(s), how much and when up and down:
candles form special series, oft w/unshown info to support it
cycle w/limited projection -- C:L:M trend angles, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)



p1 adj:




entry -- Note apparent direction, if it's versus, isolated from or with chart area(s), how much and when up and down,
exit -- watch that nobody influences your upset the thoughts on your pre-exit trigger with loud, sharp, dissonant, negative, already-a-sure-given loss projection into you:
candles form special series, oft w/unshown info to support it
cycle w/limited projection -- C:L:M trend angles, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)





p1 adj:






entry -- Note if apparent direction is versus, isolated from or with other chart area(s), for how much, when price goes in each direction. Watch also for self-deluding actions that defeat efforts.
exit -- Watch that nobody influences your upset the thoughts on your pre-exit trigger with loud, sharp, dissonant, negative, already-a-sure-given loss projection into you. Watch also for poor technical follow-through.
in-between trades -- Watch for "you're not supposed to know anything about that", "HEY!" as if I'm crossing their territory of any success in life, and "I'm gonna get you if you do", typical set-ups to counter an opponent. Also study voraciously.
charting (drawing devices) I do
candles form special series, oft w/unshown info to support it
cycle w/limited projection -- C:L:M trend angles, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)








p1 adj





entry -- Note if apparent direction is versus, isolated from or with other chart area(s), for how much, when price goes in each direction. Watch also for self-deluding actions or other's "Think THAt?!???" as if it's the most stupid (if you think they care) or threatening (if you think they don't) thing you could possibly do.
exit -- Watch that nobody influences your upset the thoughts on your pre-exit trigger with loud, sharp, dissonant, negative, already-a-sure-given loss projection into you. Watch also for poor technical follow-through.
in-between trades -- Watch for "you're not supposed to know anything about that", "HEY!" as if I'm crossing their territory of any success in life, and "I'm gonna get you if you do", typical set-ups to counter an opponent. Also study voraciously.
charting (drawing devices) I do
candles form special series, oft w/unshown info to support it
cycle w/limited projection -- C:L:M trend angles, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)




p1 adj --







objective -- (work)Earn as much money as possible, every trade. (watch) Sometimes the obvious is elusive.)
entry -- (work) Note if apparent direction is versus, isolated from or with other chart area(s), for how much, when price goes in each direction. (watch) Watch also for self-deluding actions or (watch) other's "Think THAt?!???" as if it's the most stupid (if you think they care) or threatening (if you think they don't) thing you could possibly do.
exit -- (watch) Watch that nobody influences your upset the thoughts on your pre-exit trigger with loud, sharp, dissonant, negative, already-a-sure-given loss projection into you. (watch) Watch also for poor (work) technical follow-through.
in-between trades -- close: (watch) Watch for "you're not supposed to know anything about that", "HEY!" as if I'm crossing their territory of any success in life, "I'm gonna get you if you do",
or far: (watch) w/time for review of abilities and nontrading resistances and either did -- threatening -- or did not -- caring, revisionist rationalizing to fit this statement,
a cornered-, helpless-physical-attitude projection that socializes with "Too bad!",
typical set-ups to counter an opponent. (work) Also study voraciously.
(work) charting (drawing devices) I do, (watch) with i/o positioning of projected-into-self affect and u/d feeling of effectiveness
candles with trend angles (general: direction; changeover: vertical or horizontal line, where area leftright or hilo switch happens; angle: hilo leftright for one trend; several parallel lines of vertical or horizontal lines: fib, thirds, midline -- condense/expand/both; divided: trend centerlines, from one's midpoint to another's); form series or a shape's piece
cycle w/limited projection -- C:L:M, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)

Curve is a profoundly difficult subject for me.

It looks so neat, often much more than a straight line or even a triangle.

Right now, logr contains a curve and midline not, so curve goes to the left of logr.
But so what?

Balance, or lack thereof, would be essential to a curve;
only, expressing it....

After lots of tries, I got a line here that works for a curve.
It balances the middle of the left and the middle of the right portion of the curve,
with trendlines projecting from the middle of each section and on to balance atop significant, rather flat, and midline-like pivots:













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



p1 adj:








objective -- (work)Earn as much money as possible, every trade. (watch) Sometimes the obvious is elusive.)
entry -- (work) Note if apparent direction is versus, isolated from or with other chart area(s), for how much, when price goes in each direction. (watch) Watch also for self-deluding actions or (watch) other's "Think THAt?!???" as if it's the most stupid (if you think they care) or threatening (if you think they don't) thing you could possibly do.
exit -- (watch) Watch that nobody influences your upset the thoughts on your pre-exit trigger with loud, sharp, dissonant, negative, already-a-sure-given loss projection into you. (watch) Watch also for poor (work) technical follow-through.
in-between trades -- close: (watch) Watch for "you're not supposed to know anything about that", "HEY!" as if I'm crossing their territory of any success in life, "I'm gonna get you if you do",
or far: (watch) w/time for review of abilities and nontrading resistances and either did -- threatening -- or did not -- caring, revisionist rationalizing to fit this statement,
a cornered-, helpless-physical-attitude projection that socializes with "Too bad!",
typical set-ups to counter an opponent. (work) Also study voraciously.
(work) charting (drawing devices) I do, (watch) with i/o positioning of projected-into-self affect and u/d feeling of effectiveness
candles with trend angles ((multi-/larger) area: changeover from left to right of vertical or hilo or lohi of horizontal line,multi-/larger also with general direction; crossover vert-hz or leftupdn-rightupdn, either partial,weighted or full; several parallel lines of vertical or horizontal lines: fib, thirds, midline -- condense/expand/both; divided: trend centerlines, from one's midpoint to another's); form series or a shape's piece
cycle w/limited projection -- C:L:M, ls2, ellipse on a stick
close shapes group project line(s) -- lp3,5
one shape projects line(s) -- (regular polygons)




----------





p1 adj:







delude,mistake or fear "Earn amap." that may be--
adaptive: interrupt (loud, sharp, dissonant, negative, confident)
positive: cornered-, helpless, too much harmful/worthless
knowledgable: order to "know nothing", threat to "...or you die"
real leverage: surprise expression of territorial advance
leverage used, shows promise: threat to change to negative action
leverage exiting win: revenge talk after or just before
trend angle
-- (multi-/larger) area: changeover from left to right of vertical or hilo or lohi of horizontal line,multi-/larger also with general direction
-- crossover vert-hz or leftupdn-rightupdn, either partial,weighted or full; several
-- parallel lines of vertical or horizontal lines: fib, thirds, midline -- condense/expand/both
-- divided: trend centerlines, from one's midpoint to another's
cycle -- C:L:M, ls2, ellipse on a stick; group-- lp3,5; shape -- regular polygons






p1 adj:



(tested in nontrading environs -- yes, I can at least use the sense of each of the drawing devices shown in real life, now)







(In) a DELUDE, FEAR or MISTAKE area of one's life(,)
DO adaptive: interrupt (loud, sharp, dissonant, negative, confident)
positive: cornered-, helpless, too much harmful/worthless
knowledgable: order to "know nothing", threat to "...or you die"
IS real leverage: surprise expression of territorial advance
leverage used, shows promise: threat to change to negative action
leverage exiting win: revenge talk after or just before
trend angle
-- (multi-/larger) area: changeover from left to right of vertical or hilo or lohi of horizontal line,multi-/larger also with general direction
-- crossover vert-hz or leftupdn-rightupdn, either partial,weighted or full; several
-- parallel lines of vertical or horizontal lines: fib, thirds, midline -- condense/expand/both
-- divided: trend centerlines, from one's midpoint to another's
cycle -- C:L:M, ls2, ellipse on a stick; group-- lp3,5; shape -- regular polygons


-- removed 'divided' and 'crossover'

Lvg




p1 adj:









DELUDE, FEAR or MISTAKE
DO adaptive: interrupt (loud, sharp, dissonant, negative, confident)
positive: cornered-, helpless, too much harmful/worthless
knowledgable: order to "know nothing", threat to "...or you die"
IS real leverage: surprise expression of territorial advance
leverage used, shows promise: threat to change to negative action
leverage exiting win: revenge talk after or just before.
Trend angle L->R of vertical trend angle, hilo or lohi of horizontal, general direction
parallel lines of vertical or horizontal lines: fib, thirds, mid- -- condense/expand/both
cycle -- C:L:M, ls2, ellipse on a stick; group-- lp3,5; shape -- regular polygons.


Lvg order similar to 1.-10. cycle.

p1 new:



(separated psych's different ingredients,
to increase its effectiveness)









Trend angle -- L->R of vertical trend angle, hilo or lohi of horizontal, general direction
parallel lines -- of vertical or horizontal lines: fib, thirds, mid- -- condense/expand/both
cycle -- C:L:M, ls2, ellipse on a stick; group-- lp3,5; shape -- regular polygons.

DELUDE, FEAR or MISTAKE
know-nothing(unconscious),interrupt(mec's spike),corner/threaten/revenge(interact environs).

projected behavior's correction
DELUDE: order to "know nothing ....act how we view...or you die" as if outside behavior and not inside cognition matters (they go together). -> Knowledgable
MISTAKE: cornered-, helpless, "Too bad" -- too much harmful/worthless. -> Positive
FEAR: interrupt (loud, sharp, dissonant, negative, confident). -> Adaptive to trading performance cycle
CHART real? surprise, since own all worthwhile, expression vs. territorial advance -> Bound worth





the (C: )L:M progression: ellipse on a stick; lp1(cycle type) or ls2; same-as; logic dot; viral grid; logr shape, regular (polygon,multi-trend shape)s, lp3/5.
Partials: trend angle (side vs. V and H; parallel 1/3,1/2,fib).




p1 adj to this:











C:L:M ((curve-)momo-range) areas as price action:
ellipse on a stick, lp1(cycle type) or ls2 cycle;
cycle direction (trend angles vs. V,H), pace (1/3,1/2,fib);
same-as (enter price for one reason, get same for another), logic dot, or viral grid types of extreme cycles; one area projects reason into next areas --
a pure curve/logr/corner shape, filled regular (parallel expand-contract lines (wedge,stack),polygon,
multi-polygon (l.p.5), or selected-candles w/shape;
multi-trend shape (harmonics), multi-shape trend (l.p.3)).

projected behavior's correction
DELUDE: the unconscious; order to "know nothing ....act how we view...or you die" as if outside behavior and not inside cognition matters (they go together). An overreaction, especially if wrongly reframing an entire area, is a type of delusion. -> Knowledgable
MISTAKE: interacted-with environs; cornered-, helpless, "Too bad" -- too much harmful/worthless.-> Positive
FEAR: interrupt (loud, sharp, dissonant, negative, confident). May advance to threaten, revenge w/,after trade. -> Adaptive to trading performance cycle
CHART real? surprise, since own all worthwhile, expression vs. territorial advance. -> Bound worth



p1 adj:






projected behavior's correction

1. Memory.
   (study) C:L:M ((curve-)momo-range) areas as price action:
   ellipse on a stick; progression (ex.: a divergent logr in latter of a balance then expand/45's into logr-ish corner); lp1(cycle type) or ls2 cycle;
   cycle direction (trend angles vs. V,H), pace (1/3,1/2,fib);
   same-as (enter price for one reason, get same for another), logic dot, or viral grid types of extreme cycles; one area projects reason into next areas --
   a pure curve/logr/corner shape, filled regular (parallel expand-contract lines (wedge,stack),polygon,
   multi-polygon (l.p.5), or selected-candles w/shape;
   multi-trend shape (harmonics), multi-shape trend (l.p.3)).
   (trade) here -> Stop,revise.
2. Recall:
   A.1 study unconscious, which blocks then frees environs concerns, so chart can be intuited from experience
   2. trade real? surprise, since own all worthwhile, expression vs. territorial advance. -> Bound worth
   B.details of any recall
   1 Delusion, or a non-pathological overreaction or wrong reframing ,
   2 extreme focus, which selects then expands upon the selection from environs concerns,
   3 Projection order to "know nothing ....act how we view...or you die" before either happens, interrupting already-complete behavior-cognitive understanding.
3. Interpretation
   A 1. REASON or purpose, which explains the environs through some consclusive direction from schema -> Knowledge exists as object to take action with.
   2. MISTAKE: interacted-with environs; cornered-, helpless, "Too bad" -- too much harmful/worthless.-> Positive
   B. EMOTION: ex., fear, which an interrupt (loud, sharp, dissonant, negative, confident) may initiate.
   May advance to react to anger, which threatens,
   or to action, which in this case may take revenge w/,after trade. -> Adaptive to leverage trading performance (via mec,) cycle

-------



a simple trendline break, to show its further uselessness.
Note that there are strong, if small, curve(s) early in the trendline, at the same time the trendline is as well a kind of midline, and then the Gann Fan is of course a logr and here also with a strong midline content that supports it from dropping to the broken trendline as a ray:

p1 adj:







projected behavior's correction

1. Memory.
   (study) C:L:M ((curve-)momo-range) areas as price action:
   ellipse on a stick; progression (ex.: a divergent logr in latter of a balance then expand/45's into logr-ish corner); lp1(cycle type) or ls2 cycle;
   cycle direction (trend angles vs. V,H), pace (1/3,1/2,fib, possible expansion/contraction);
   same-as (enter price for one reason, get same for another), logic dot, or viral grid types of extreme cycles; one area projects reason into next areas --
   a pure curve/logr/corner shape, filled regular (parallel expand-contract lines (wedge,stack),polygon,
   multi-polygon (l.p.5), or selected-candles w/shape;
   multi-trend shape (harmonics), multi-shape trend (l.p.3)).
   (trade) here -> Stop,revise.
2. Recall:
   A.1 study unconscious, which blocks then frees environs concerns, so chart can be intuited from experience
   2. trade real? surprise, since own all worthwhile, expression vs. territorial advance. -> Bound worth
   B.details of any recall
   1 Delusion, or a non-pathological overreaction or wrong reframing ,
   2 extreme focus, which selects then expands upon the selection from environs concerns,
   3 Projection order to "know nothing ....act how we view...or you die" before either happens, interrupting already-complete behavior-cognitive understanding.
3. Interpretation
   A 1. REASON or purpose, which explains the environs through some consclusive direction from schema -> Knowledge exists as object to take action with.
   B. EMOTION: ex., fear, which an interrupt (loud, sharp, dissonant, negative, confident) may initiate.
   May advance to react to anger, which threatens,
   or to action, which in this case may take revenge w/,after trade. -> Adaptive to leverage trading performance (via mec,) cycle
   3. MISTAKE(flow): interacted-with environs; cornered-, helpless, "Too bad" -- too much harmful/worthless.-> Positive

Nice, although I still say B starts from an s/r line also.
Perfect reason to draw lines, instead of all the junk I wrote.
Do you have a trade call from your pictures? Or, maybe there's too little.






p1 adj:






projected behavior's correction

1. Memory.
   (study): C:L:M ((curve-)momo-range) areas as price action, that is, progression (ex.: a divergent logr in latter of a balance then expand/45's into logr-ish corner); ellipse on a stick; lp1(cycle type) or ls2 cycle;
   cycle direction (trend angles vs. V,H),
   pace (1/3,1/2 (w/1/4 rule),fib, initial-height ratio for L:M and thus possible expansion/contraction);
   object area projects reason into next areas --
   -- pure: (C:L:M's) curve/logr/corner shape,
   -- filled: parallel expand-contract lines (wedge,stack), regular polygon
   -- mixed: multi-polygon (l.p.5), or selected-candles w/shape; multi-trend shape (harmonics), multi-shape trend (l.p.3)).
   -- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
   (trade) here -> Stop,revise.
2. Recall:
   A.1 study unconscious, which blocks then frees environs concerns, so chart can be intuited from experience
   2. trade real? surprise, since own all worthwhile, expression vs. territorial advance. -> Bound worth
   B.details of any recall
   1 Delusion, or a non-pathological overreaction or wrong reframing ,
   2 extreme focus, which selects then expands upon the selection from environs concerns,
   3 Projection order to "know nothing ....act how we view...or you die" before either happens, interrupting already-complete behavior-cognitive understanding.
3. Interpretation
   A 1. REASON or purpose, which explains the environs through some consclusive direction from schema -> Knowledge exists as object to take action with.
   B. EMOTION: ex., fear, which an interrupt (loud, sharp, dissonant, negative, confident) may initiate.
   May advance to react to anger, which threatens,
   or to action, which in this case may take revenge w/,after trade. -> Adaptive to leverage trading performance (via mec,) cycle
   3. MISTAKE(flow): interacted-with environs; cornered-, helpless, "Too bad" -- too much harmful/worthless.-> Positive

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


suggestion: is a curve anti-momo? That is,

While a midline ...
a curve is




p1 adj:


(includes a rule for curves)









projected behavior's correction

1. Memory.
   (study): C:L:M (four-(or infinite-),one-(or three-),two-way balance)(curve-)momo-range) areas as price action, that is, progression (ex.: a divergent logr in latter of a balance then expand/45's into logr-ish corner); ellipse on a stick; lp1(cycle type) or ls2 cycle;
   cycle direction (trend angles vs. V,H),
   pace (trendlines: the straighter the line, the easier to run away, and the more momo the line, the easier to attenuate the given shape nearby, and a curve, merging into another shape in some way is likely(with the projection from affect still as variable as another shape's)) (1/3,1/2 (w/1/4 rule),fib, initial-height ratio for L:M and thus possible expansion/contraction);
   object area projects reason into next areas --
   -- pure: (C:L:M's) curve/logr/corner shape,
   -- filled: parallel expand-contract lines (wedge,stack), regular polygon
   -- mixed: multi-polygon (l.p.5), or selected-candles w/shape; multi-trend shape (harmonics), multi-shape trend (l.p.3)).
   -- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
   (trade) here -> Stop,revise.
2. Recall:
   A.1 study unconscious, which blocks then frees environs concerns, so chart can be intuited from experience
   2. trade real? surprise, since own all worthwhile, expression vs. territorial advance. -> Bound worth
   B.details of any recall
   1 Delusion, or a non-pathological overreaction or wrong reframing ,
   2 extreme focus, which selects then expands upon the selection from environs concerns,
   3 Projection order to "know nothing ....act how we view...or you die" before either happens, interrupting already-complete behavior-cognitive understanding.
3. Interpretation
   A 1. REASON or purpose, which explains the environs through some consclusive direction from schema -> Knowledge exists as object to take action with.
   B. EMOTION: ex., fear, which an interrupt (loud, sharp, dissonant, negative, confident) may initiate.
   May advance to react to anger, which threatens,
   or to action, which in this case may take revenge w/,after trade. -> Adaptive to leverage trading performance (via mec,) cycle
   3. MISTAKE(flow): interacted-with environs; cornered-, helpless, "Too bad" -- too much harmful/worthless.-> Positive

p1 adj:


(more C:L:M defining)







projected behavior's correction

1. Memory.
   (study): CYCLES
   shape area projects reason into next areas --
   -- pure: (C:L:M's) curve/logr/corner shape,
   -- filled: parallel expand-contract lines (wedge,stack), regular polygon
   -- mixed: multi-polygon (l.p.5), or selected-candles w/shape; multi-trend shape (harmonics), multi-shape trend (l.p.3)).
   -- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
   cycle direction (trend angles vs. V,H),
   C:L:M (Curve four-(or infinite- (wide (unfilled) anchor(-dependent(for structure of) shapes of price-time balance; thus, the longer diameter of an ellipse chooses more price or time)),Logr one-((small anchor of price-time balance) or three-),Midline two-way (price or time balance) balance)(curve-)momo-range) areas as price action,
   -- thus, a series of logic is that a midline has two that can be one or three and thus logr or infinite and thus include or be a part of circle, a logr can be circle or midline and thus straighten to continue or curve to hold, and a circle is a wide anchor for a bit to tie onto or one point for a midline to form from --
   -- repetition is, in an abstracted example, from definiteness/size set of one, then another of same size promising much bigger, then the minor last one switching with the first, so that resolution of the switch brings also fulfilling the promise of the other , and as well, the first, because the frame of the first influenced that of the third, returns after the second does --
   -- shape is described differently, as in '(ex.: a divergent logr in latter of a balance then expand/45's into logr-ish corner)' --
   
   that is, progression , ellipse on a stick, lp1(cycle type) or ls2 simple/formulaic (shape) repetition;
   
   (invisible marker) pace (trendlines: the straighter the line, the easier to run away, and the more momo the line, the easier to attenuate the given shape nearby, and a curve, merging into another shape in some way is likely(with the projection from affect still as variable as another shape's)) (1/3,1/2 (w/1/4 rule),fib, initial-height ratio for L:M and thus possible expansion/contraction);
   (trade) here -> Stop,revise.
2. Recall:
   A.1 study unconscious, which blocks then frees environs concerns, so chart can be intuited from experience
   2. trade real? surprise, since own all worthwhile, expression vs. territorial advance. -> Bound worth
   B.details of any recall
   1 Delusion, or a non-pathological overreaction or wrong reframing ,
   2 extreme focus, which selects then expands upon the selection from environs concerns,
   3 Projection order to "know nothing ....act how we view...or you die" before either happens, interrupting already-complete behavior-cognitive understanding.
3. Interpretation
   A 1. REASON or purpose, which explains the environs through some consclusive direction from schema -> Knowledge exists as object to take action with.
   B. EMOTION: ex., fear, which an interrupt (loud, sharp, dissonant, negative, confident) may initiate.
   May advance to react to anger, which threatens,
   or to action, which in this case may take revenge w/,after trade. -> Adaptive to leverage trading performance (via mec,) cycle
   3. MISTAKE(flow): interacted-with environs; cornered-, helpless, "Too bad" -- too much harmful/worthless.-> Positive

.
circle-logr-midline ratio:

p1 adj:



(retitled)









projected behavior's correction

1. Memory.
   (study): CYCLES -- which of ABCD, depends on how complex /where emphasis the area/trade-area it is
   A. complex shapes (have anchors, only other stuff too) shape area projects reason into next areas
   -- pure: (C:L:M's) curve/logr/corner shape,
   -- filled: parallel expand-contract lines (wedge,stack), regular polygon
   -- mixed: multi-polygon (l.p.5), or selected-candles w/shape; multi-trend shape (harmonics), multi-shape trend (l.p.3)).
   -- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
   __ shape is described differently, as in '(ex.: a divergent logr in latter of a balance then expand/45's into logr-ish corner)' __
   B. simple anchors, shapes w/:(curve-)momo-range) C:L:M (Curve four-(or infinite- (wide (unfilled) anchor(-dependent(for structure of) shapes of price-time balance; thus, the longer diameter of an ellipse chooses more price or time)),Logr one-((small anchor of price-time balance) or three-),Midline two-way (price or time balance) balance) areas as price action,
   -- thus, a series of logic is that a midline has two that can be one or three and thus logr or infinite and thus include or be a part of circle, a logr can be circle or midline and thus straighten to continue or curve to hold, and a circle is a wide anchor for a bit to tie onto or one point for a midline to form from --
   that is, progression , ellipse on a stick, lp1(cycle type) or ls2 simple/formulaic (shape) repetition;
   __ repetition is, in an abstracted example, from definiteness/size set of one, then another of same size promising much bigger, then the minor last one switching with the first, so that resolution of the switch brings also fulfilling the promise of the other , and as well, the first, because the frame of the first influenced that of the third, returns after the second does __
   C. two-anchor directioncycle direction of trend angles vs. V,H,
   D. one-anchor (touch) direction (invisible marker) pace (trendlines: the straighter the line, the easier to run away, and the more momo the line, the easier to attenuate the given shape nearby, and a curve, merging into another shape in some way is likely(with the projection from affect still as variable as another shape's)) (1/3,1/2 (w/1/4 rule),fib, initial-height ratio for L:M and thus possible expansion/contraction);
   E. zero anchors Guessing? (And you will, on occasion.) (trade) here -> Stop,revise.
2. Recall:
   A.1 study unconscious, which blocks then frees environs concerns, so chart can be intuited from experience
   2. trade real? surprise, since own all worthwhile, expression vs. territorial advance. -> Bound worth
   B.details of any recall
   1 Delusion, or a non-pathological overreaction or wrong reframing ,
   2 extreme focus, which selects then expands upon the selection from environs concerns,
   3 Projection order to "know nothing ....act how we view...or you die" before either happens, interrupting already-complete behavior-cognitive understanding.
4. Leverage
   A 1. REASON or purpose, which explains the environs through some consclusive direction from schema -> Knowledge exists as object to take action with.
   B. EMOTION: ex., fear, which an interrupt (loud, sharp, dissonant, negative, confident) may initiate.
   May advance to react to anger, which threatens,
   or to action, which in this case may take revenge w/,after trade. -> Adaptive to leverage trading performance (via mec,) cycle
   3. MISTAKE(flow): interacted-with environs; cornered-, helpless, "Too bad" -- too much harmful/worthless.-> Positive

I can understand why /that studying several currencies is most important; only, it's impractical to me.
Because TA is tops, really good TA takes all one's time, instead of spreading one's energies of the differences of a given level of TA across several currencies.
Maybe one day...

And what causes the currencies to differ; I mean, wouldn't you want a simple explanation so that TA is, at some timeframe/area, easier to transfer from one currency to the next? And what makes them align at all, so that their lower timeframes at times differ? (Shared-currency red-flag news, as an invisible point, at least....)


I guess I have more questions than answers, at least about transferring TA knowledge inter-currency.











another ls2 ("pcb"), pseudo; it's another valid, if definitely not your typical squared-rule obeyer:



The second Gann Fan's probably irrelevant, but the other lines are incredibly worth the study. And, the first chart's original ls2 box is highly deft, so worth posting.








----------


separated version of a ninety-degree section;
that is, a quarter of an ellipse, where price starts at the zero-degree position and works around to the 270-degree position, or another quarter. In bigger examples, straight lines overlap off relevant price action to form the ellipse, often to the benefit of price action using them in volatility along the way.

This is, of course, an extremely common, traditional shape.
It's just that I have very few uses for the ellipse, and am trying to make more:
My list is up to three -- this one, a legit C:M:L use, and Mt. Pilot.

.






broke after the 270, hinting a little with volatility dips into old lines:








backwards Gann Fan -- another example

(results of backward Gann Fan)


*new* Gann Fan with adverse line






after a very long time, price diverges from adverse line









-------


p1 adj:


(addition, from next few posts;
overall, a rewrite to mesh psych further with chart)








DRAW -- ADAPTATION cycle/conclusion
DRAW -- ORIGIN awareness/dissociation/focus
DRAW -- PROJECTION projection/intuition/delusion
TRADE -- OBJECT position/label
TRADE -- ACTION mistake/leverage/production






charting incl. own energy, data taken from different sources/uncharted directions and compiled into price/time.
A. high-wave-divergence situating complex shapes (anchors,other) shape area projects reason into next areas
-- pure: (C:L:M's) curve/logr/corner shape,
-- filled: parallel expand-contract lines (wedge,stack), regular polygon (ellipse / ninety-degree section, triangle/compro,rectangle)
-- mixed: polygons (l.p.5; Mt. Pilot,c'n'h, fighter jet) or sep.candles w/shape; trends' shape (harmonics), shapes' trend (l.p.3)).
-- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
__ shape is described differently, as in (ex.): "a divergent logr in latter of a balance then expand/45's into logr-ish corner" __
B. cb feed simple anchors, shapes w/:(curve-)momo-range) C:L:M (Curve four-(or infinite- (wide (unfilled) anchor(-dependent(for structure of) shapes of price-time balance; thus, the longer diameter of an ellipse chooses more price or time)),Logr one-((small anchor of price-time balance) or three-),Midline two-way (price or time balance) balance) areas PA.
midline has two that can be one or three, and thus logr or infinite and thus include or be a part of circle;
logr can be circle or midline and thus straighten to continue or curve to hold;
circle is a wide anchor for a bit to tie onto or one point for a midline to form from --
that is, progression , ellipse on a stick, lp1(cycle type) or ls2 simple/formulaic (shape) repetition;
__ repetition is described, in an abstracted example: "From definiteness/size set of one, then another of same size promising much bigger, then the minor last one switching with the first, so that resolution of the switch brings also fulfilling the promise of the other , and as well, the first, because the frame of the first influenced that of the third, returns after the second does." __
__ some drawing-device uses -- Gann Fan -- regular,separated,adverse line,midlines,backwards.
lp3 -- centered origin,blobs triangulated,screen size,proxy line,skew use.
C. d/s signalling two-anchor directioncycle direction of trend angles vs. V,H. In the body, its most-direct signal is thru fbr(fight-or-flight response(w/positions),broaden-and-build theory,relaxation response w/tension. L(ogr) w/M(idline): contract,expand,volatility-- the average of which is C(urve), which skews off front-back.
D. memory cell one-anchor (touch) direction (invisible marker) pace (trendlines: the straighter the line, the easier to run away, and the more momo the line, the easier to attenuate the given shape nearby, and a curve, merging into another shape in some way is likely(with the projection from affect still as variable as another shape's)) (1/3,1/2 (w/1/4 rule),fib, initial-height ratio for L:M and thus possible expansion/contraction);
E. gc line zero anchors process DRAW -- ADAPTATION cycle/conclusion DRAW -- ORIGIN awareness/dissociation/focus
DRAW -- PROJECTION projection/intuition/delusion TRADE -- OBJECT position/label TRADE -- ACTION mistake/leverage/production





p1 adj:


(condense,legibility)



charting incl. own energy, data taken from different sources/uncharted directions and compiled into price/time.
A. high-wave-divergence situating complex shapes (anchors,other) shape area projects reason into next areas
-- pure: (C:L:M's) curve/logr/corner shape,
-- filled: parallel expand-contract lines (wedge,stack), regular polygon ((partial) ellipse, triangle/compro,rectangle)
-- mixed: polygons (l.p.5; Mt. Pilot,c'n'h, fighter jet) or sep.candles w/shape; trends' shape (harmonics), shapes' trend (l.p.3)).
-- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
__ shape (ex.): "a divergent logr in latter of a balance then expand/45's into logr-ish corner" __
B. cb feed simple anchors, shapes w/:(curve-)momo-range) C:L:M (Curve four-(or infinite- (wide (unfilled) anchor(-dependent(for structure of) shapes of price-time balance; a longer diameter curves near a price-time point anchor)),Logr one-((small anchor of price-time balance) or three-),Midline two-way (price or time balance) balance) areas PA.
midline 2 opt 1,3, thus logr or infinite and own/in circle; logr w/circle hold, midline continue; circle wide anchor --
that is, progression , ellipse on a stick, lp1(cycle type) or ls2 simple/formulaic (shape) repetition;
__ repetition is described, in an abstracted example: "From definiteness/size set of one, then another of same size promising much bigger, then the minor last one switching with the first, so that resolution of the switch brings also fulfilling the promise of the other , and as well, the first, because the frame of the first influenced that of the third, returns after the second does." __
__ some drawing-device uses -- Gann Fan -- regular,separated,adverse line,midlines,backwards.
lp3 -- centered origin,blobs triangulated,screen size,proxy line,skew use.
C. d/s signalling two-anchor directioncycle direction of trend angles vs. V,H. In the body, its most-direct signal is thru fbr(fight-or-flight response(w/positions),broaden-and-build theory,relaxation response w/tension. L(ogr) w/M(idline): contract,expand,volatility-- average C(urve) skews front-back.
D. memory cell one-anchor (touch) direction (invisible marker) pace (trendlines: straighter easier to veer; momo, line adjusts close shape more; a curve, merging likely(w/affect proj'n varied)) (1/3,1/2 (w/1/4 rule),fib, expansion/contraction);
E. gc line zero anchors Cycle alone. process DRAW -- ADAPTATION cycle/conclusion DRAW -- ORIGIN awareness/dissociation/focus
DRAW -- PROJECTION projection/intuition/delusion TRADE -- OBJECT position/label TRADE -- ACTION mistake/leverage/production






I don't feel so bad losing with margin calls every other simulator account or so, now:
"Babe Ruth: You probably know Babe Ruth because of his home run record (714 during his career), but along with all those home runs came a pretty hefty amount of strikeouts as well (1,330 in all). In fact, for decades he held the record for strikeouts. When asked about this he simply said, 'Every strike brings me closer to the next home run.'"1









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






A nice l.p.3 example, this one using a copy of the pattern already repeated to screen the fan:











p1 adj:





charting incl. own energy, data taken from different sources/uncharted directions and compiled into price/time._
A. high-wave-divergence situating complex shapes w/divergence,volume (anchors,other) shape area projects reason
-- pure: (C:L:M's) curve/logr/corner shape,
-- filled: parallel expand-contract lines (wedge,stack), regular polygon ((partial) ellipse, triangle/compro,rectangle)
-- mixed: polygons (l.p.5; Mt. Pilot,c'n'h, fighter jet) or sep.candles w/shape; trends' shape (harmonics), shapes' trend (l.p.3)).
-- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
__ shape (ex.): "a divergent logr in latter of a balance then expand/45's into logr-ish corner" __
B. cb feed simple anchors, shapes w/repetition (~ A's instant) volume:(curve-)momo-range) C:L:M (Curve four-(or infinite- (wide (unfilled) anchor(-dependent(for structure of) shapes of price-time balance; a longer diameter curves near a price-time point anchor)),Logr one-((small anchor of price-time balance) or three-),Midline two-way (price or time balance) balance) areas PA.
midline 2 opt 1,3, thus logr or infinite and own/in circle; logr w/circle hold, midline continue; circle wide anchor --
that is, progression , ellipse on a stick, lp1(cycle type) or ls2 simple/formulaic (shape) repetition;
__ repetition is described, in an abstracted example: "From definiteness/size set of one, then another of same size promising much bigger, then the minor last one switching with the first, so that resolution of the switch brings also fulfilling the promise of the other , and as well, the first, because the frame of the first influenced that of the third, returns after the second does." __
__ some drawing-device uses -- Gann Fan -- regular,separated,adverse line,midlines,backwards. trendline -- divergence,dissonance,midline,line segment,ray.
lp3 -- centered origin,blobs triangulated,plain vertical screen vs. another repeat of pattern,proxy line,skew use.
C. d/s signalling two-anchor directioncycle direction of trend angles (body, rfb) vs. V,H. Most-direct signal thru fbr(fight-or-flight response(w/positions),broaden-and-build theory,relaxation response w/tension. L(ogr) w/M(idline): contract,expand,volatility-- average C(urve) skews front-back.
D. memory cell one-anchor (touch) direction (invisible marker) pace (trendlines: straighter easier to veer; momo, line adjusts close shape more; a curve, merging likely(w/affect proj'n varied)) (1/3,1/2 (w/1/4 rule),fib, expansion/contraction);
E. gc line zero Cycle. DRAW -- ADAPTATION passive/aggression / valence / internalization/projection DRAW -- ORIGIN awareness/dissociation/focus DRAW -- PROJECTION delusion/order/ trap-situation TRADE -- OBJECT position/label TRADE -- ACTION mistake/leverage/production









p1 intelligent, ineffective:



A DRAW -- PROJECTION delusion/order/ trap-situation B TRADE -- ACTION mistake/leverage/production C DRAW -- ADAPTATION passive/aggression / valence / internalization/projection D TRADE -- OBJECT position/label E DRAW -- ORIGIN awareness/dissociation/focus



p1 still ineffective:



loud, sharp, dissonant, negative, already-a-sure-given
complex A DRAW -- PROJECTION delusion/order/ trap-situation
simple B TRADE -- ACTION mistake/leverage/production
one C DRAW -- ADAPTATION passive/aggression / valence / internalization/projection
(count) D TRADE -- OBJECT position/label
none E DRAW -- ORIGIN awareness/dissociation/focus

hi ha pattern,

what do you think of your results with using gann fan ?

i havnt personaly looked enough at its merits but can see the possible benifits

regards

ps,thanks for your vouch !

You're welcome. I'm surprised you don't have more, with the highly original idea you fleshed out.
I'm pure price action drawing, which looks great but doesn't help my psych any.

I think Gann Fan's great, with balance from trendlines, polygons, grids etc.
It displays momentum really well.

People seem to shy away from Gann Fan's maneuverability, especially when the what I consider minor fault of it moving when you look at a few pages down from its origin. Also, going backwards with it produces an unpredictable origin point.
Nevertheless, I find the maneuverability improves its usage.

And, thanks for visiting.

certainly get this point.i think i touched on somthing similar with my vertical trend lines.on occasion ive taken an entry and exit for upto 40 pips from the very same line.using its skew from zooming in and out.first time it happened i thought i was seeing things.

we constantly thrive to complete our ideas.and forex certainly seems endless in that pursuit.im thriving to find a way to best use cycles of time.havnt got that part anywere close yet.hurst cycles being the closest ,
i guess ill continue my search for that last needle in an ever increasing hay pile.

regards

p1 adj:







You use the paradigm you live in, for psychology.
This is amygdala-specific to margin calls:

what's happening to me?
loud, sharp, dissonant, negative, already-a-sure-given
complex PROJECTION already-a-sure-given
simple SEVERAL IN REPETITION sharp
two dissonant
(count) loud
none CYCLE VALENCE: negative


chart drawing:


charting incl. own energy, data taken from different sources/uncharted directions and compiled into price/time._
A. high-wave-divergence situating complex shapes w/divergence,volume (anchors,other) shape area projects reason
-- pure: (C:L:M's) curve/logr/corner shape,
-- filled: parallel expand-contract lines (wedge,stack), regular polygon ((partial) ellipse, triangle/compro,rectangle)
-- mixed: polygons (l.p.5; Mt. Pilot,c'n'h, fighter jet) or sep.candles w/shape; trends' shape (harmonics), shapes' trend (l.p.3)).
-- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
__ shape (ex.): "a divergent logr in latter of a balance then expand/45's into logr-ish corner" __
B. cb feed simple anchors, shapes w/repetition (~ A's instant) volume:(curve-)momo-range) C:L:M (Curve four-(or infinite- (wide (unfilled) anchor(-dependent(for structure of) shapes of price-time balance; a longer diameter curves near a price-time point anchor)),Logr one-((small anchor of price-time balance) or three-),Midline two-way (price or time balance) balance) areas PA.
midline 2 opt 1,3, thus logr or infinite and own/in circle; logr w/circle hold, midline continue; circle wide anchor --
that is, progression , ellipse on a stick, lp1(cycle type) or ls2 simple/formulaic (shape) repetition;
__ repetition is described, in an abstracted example: "From definiteness/size set of one, then another of same size promising much bigger, then the minor last one switching with the first, so that resolution of the switch brings also fulfilling the promise of the other , and as well, the first, because the frame of the first influenced that of the third, returns after the second does." __
__ some drawing-device uses -- Gann Fan -- regular,separated,adverse line,midlines,backwards. trendline -- divergence,dissonance,midline,line segment,ray.
lp3 -- centered origin,blobs triangulated,plain vertical screen vs. another repeat of pattern,proxy line,skew use.
C. d/s signalling two-anchor directioncycle direction of trend angles (body, rfb) vs. V,H. Most-direct signal thru fbr(fight-or-flight response(w/positions),broaden-and-build theory,relaxation response w/tension. L(ogr) w/M(idline): contract,expand,volatility-- average C(urve) skews front-back.
D. memory cell one-anchor (touch) direction (invisible marker) pace (trendlines: straighter easier to veer; momo, line adjusts close shape more; a curve, merging likely(w/affect proj'n varied)) (1/3,1/2 (w/1/4 rule),fib, expansion/contraction);
E. gc line zero Cycle. C DRAW -- ADAPTATION passive/aggression / valence / internalization/projection E DRAW -- ORIGIN awareness/dissociation/focus A DRAW -- PROJECTION delusion/order/ trap-situation D TRADE -- OBJECT position/label B TRADE -- ACTION mistake/leverage/production










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



p1 new,partial:


(under "C." and psych)




Triangle (logr/momo) starts(vs. self,stops), arc (big pivot) loosens(vs. self,tightens), rectangle ((mid-)line) stops(vs. self,starts) trend. D/S (size,density,match,(tri)angle-count,rectangle-count) one vs. another strengthens/weakens signal.


r/w:



Triangle (logr/momo) starts(vs. self,stops; (tri)angle-count,measures), arc (big pivot) loosens(vs. self,tightens), rectangle ((mid-)line) stops(vs. self,starts; (rect)angle-count,measures) trend.


r/w:




Range's triangle (logr/momo) starts(vs. self,stops; (tri)angle-count,measures), its arc (big pivot) loosens(vs. self,tightens; (tri/rect)angle-count,measures), and its rectangle ((mid-)line) stops(vs. self,starts; (rect)angle-count,measures) trend. The purest shape, neutral of direction, defines price and time equally in all (compromise) directions.



r/w:





The purest shape, balance, neutral of direction, defines price and time in all directions; it can also average them over time, such as a cycle. Range's triangle (logr/momo) starts(vs. self,stops; (tri)angle-count,measures), its arc (big pivot) loosens(vs. self,tightens; (tri/rect)angle-count,measures), and its rectangle ((mid-)line) stops(vs. self,starts; (rect)angle-count,measures) trend. Trend defines a part of the cycle.



example:

ellipse loosens direction down, triangle starts direction up.
Repeat of set makes rectangle s/r, which limits upward to twice ellipse-triangle set.
Symtri limits one direction, unlimits other; my trade was unlimited (vs. condition,position of symtri) down.





Bigger picture suggests a downtrend continuation, which may've already been expressed/captured by the triangle bookends, which are opposing and thus a rectangle, so yes, it'll turn up, because that's a big, solid rectangle (I cheated and looked on,) so it'll run up bigtime (and it did, back to top-left's level):





p1 partial:


(emphasize stop,loosen,start; overview cycle)

cycle,balance,triangle,arc,rectangle
cycle The purest shape, balance, neutral of direction, defines price and time in all directions; it can also average them over time, such as a cycle. Range is within cycle. Range's triangle (logr/momo) starts(vs. self,stops; (tri)angle-count,measures), its arc (big pivot) loosens(vs. self,tightens; (tri/rect)angle-count,measures), and its rectangle ((mid-)line) stops(vs. self,starts; (rect)angle-count,measures) trend. Trend defines a part of the cycle.


--------









p1 adj:










You use the paradigm you live in, for psychology.
This is amygdala-specific to margin calls:

what's happening to me?
loud, sharp, dissonant, negative, already-a-sure-given
= balance,cycle,triangle,arc,rectangle, in order
cycle The purest shape, balance, neutral of direction, defines price and time in all directions; it can also average them over time, such as a cycle. Range is within cycle. Range's triangle (logr/momo) starts(vs. self,stops; (tri)angle-count,measures), its arc (big pivot) loosens(vs. self,tightens; (tri/rect)angle-count,measures), and its rectangle ((mid-)line) stops(vs. self,starts; (rect)angle-count,measures) trend. Trend defines a part of the cycle.


extra chart drawing:


(psych)
loud, sharp, dissonant, negative, already-a-sure-given
complex PROJECTION already-a-sure-given
simple SEVERAL IN REPETITION sharp
two dissonant
(count) loud
none CYCLE VALENCE: negative

charting incl. own energy, data taken from different sources/uncharted directions and compiled into price/time._
A. high-wave-divergence situating complex shapes w/divergence,volume (anchors,other) shape area projects reason
-- pure: (C:L:M's) curve/logr/corner shape,
-- filled: parallel expand-contract lines (wedge,stack), regular polygon ((partial) ellipse, triangle/compro,rectangle)
-- mixed: polygons (l.p.5; Mt. Pilot,c'n'h, fighter jet) or sep.candles w/shape; trends' shape (harmonics), shapes' trend (l.p.3)).
-- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
__ shape (ex.): "a divergent logr in latter of a balance then expand/45's into logr-ish corner" __
B. cb feed simple anchors, shapes w/repetition (~ A's instant) volume:(curve-)momo-range) C:L:M (Curve four-(or infinite- (wide (unfilled) anchor(-dependent(for structure of) shapes of price-time balance; a longer diameter curves near a price-time point anchor)),Logr one-((small anchor of price-time balance) or three-),Midline two-way (price or time balance) balance) areas PA.
midline 2 opt 1,3, thus logr or infinite and own/in circle; logr w/circle hold, midline continue; circle wide anchor --
that is, progression , ellipse on a stick, lp1(cycle type) or ls2 simple/formulaic (shape) repetition;
__ repetition is described, in an abstracted example: "From definiteness/size set of one, then another of same size promising much bigger, then the minor last one switching with the first, so that resolution of the switch brings also fulfilling the promise of the other , and as well, the first, because the frame of the first influenced that of the third, returns after the second does." __
__ some drawing-device uses -- Gann Fan -- regular,separated,adverse line,midlines,backwards. trendline -- divergence,dissonance,midline,line segment,ray.
lp3 -- centered origin,blobs triangulated,plain vertical screen vs. another repeat of pattern,proxy line,skew use.
C. d/s signalling two-anchor directioncycle direction of trend angles (body, rfb) vs. V,H. Most-direct signal thru fbr(fight-or-flight response(w/positions),broaden-and-build theory,relaxation response w/tension. L(ogr) w/M(idline): contract,expand,volatility-- average C(urve) skews front-back.
cycle,balance,triangle,arc,rectangle
cycle The purest shape, balance, neutral of direction, defines price and time in all directions; it can also average them over time, such as a cycle. Range is within cycle. Range's triangle (logr/momo) starts(vs. self,stops; (tri)angle-count,measures), its arc (big pivot) loosens(vs. self,tightens; (tri/rect)angle-count,measures), and its rectangle ((mid-)line) stops(vs. self,starts; (rect)angle-count,measures) trend. Trend defines a part of the cycle.
D. memory cell one-anchor (touch) direction (invisible marker) pace (trendlines: straighter easier to veer; momo, line adjusts close shape more; a curve, merging likely(w/affect proj'n varied)) (1/3,1/2 (w/1/4 rule),fib, expansion/contraction);
E. gc line zero Cycle. C DRAW -- ADAPTATION passive/aggression / valence / internalization/projection E DRAW -- ORIGIN awareness/dissociation/focus A DRAW -- PROJECTION delusion/order/ trap-situation D TRADE -- OBJECT position/label B TRADE -- ACTION mistake/leverage/production









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



p1 dump:



{harmonics etc.} is a self-enclosed or dependent set of trend angles that is arcs, or cycles, that are enclosed within tri in and of itself, visually obvious and so well-developed in the trading world, some of them later in recent history.
A cycle that arcs to completion, with almost-random triangles and rectangles mixed inside it, a very careful balance obtained from it. Arc/triangle types may be head and shoulders, Adam and Eve, double top/bottom. Other near-random-dots patterns exist -- balance line (see older posts) is on the arc side, and on the rectangle side is using one polygon type to measure each micro-trend and midline it. There is also a compromise, which is a high then low (or v-v) then mid-pattern that together form a kind of triangle, and upon which price treats it as a continuation,high or low pivot.
ls2 is a small pattern or the short midline of a larger pattern, that projects for the squared time of the original pattern / midline of larger pattern, from the midline of either and Gann Fan's the cycle-turning vertical run/drop near the midline and endpoint of that squared midline. Thus, rectangles project cycles and triangles project arcs at the three balance points (start,mid,end) along the squared midline.
-- l.p.3 draws end points of each vertical midline, flipping into empty space a midline when the originating pattern is especially skewed from being a triangle. Blobs that almost form a compromise that a vertical screen later corrects -- line drawn from each of the blobs' pivots high, endpoint of each line connected and placed at the midpoint of that vertical run and then (or earlier) made into a ray -- , is the typical. Contrarily, ls2 draws the horizontal midline and squares its distance, since it focuses on the middle and thus the later, big cycles.
-- l.p.3 and ls2 compare well, the former being an arc/skew, as in triangle, and the latter a cycle, almost always for both. l.p.5 is straight up and/or down, often both, to balance the horizontal line most often between them. The former suggests I should put a grid on the l.p.3 and maybe even square its middle line; I guess I'll test the idea.
logic dot, etc. Balance dot - dependent, more often with a grid-like rectangle over lots of cycles.

(p1 dump, continued)



bolt strategy positioning into market wave



You use the paradigm you live in, for psychology.
This is amygdala-specific to margin calls:
already-a-sure-given,sharp,loud,negative,dissonant
what's happening to me?
loud, sharp, dissonant, negative, already-a-sure-given
= balance,cycle,triangle,arc,rectangle, in order
cycle The purest shape, balance, neutral of direction, defines price and time in all directions; it can also average them over time, such as a cycle. Range is within cycle. Range's triangle (logr/momo) starts(vs. self,stops; (tri)angle-count,measures), its arc (big pivot) loosens(vs. self,tightens; (tri/rect)angle-count,measures), and its rectangle ((mid-)line) stops(vs. self,starts; (rect)angle-count,measures) trend. Trend defines a part of the cycle.


extra chart drawing:


(psych)
loud, sharp, dissonant, negative, already-a-sure-given
complex PROJECTION already-a-sure-given
simple SEVERAL IN REPETITION sharp
two dissonant
(count) loud
none CYCLE VALENCE: negative

charting incl. own energy, data taken from different sources/uncharted directions and compiled into price/time._
A. high-wave-divergence situating complex shapes w/divergence,volume (anchors,other) shape area projects reason
-- pure: (C:L:M's) curve/logr/corner shape,
-- filled: parallel expand-contract lines (wedge,stack), regular polygon ((partial) ellipse, triangle/compro,rectangle)
-- mixed: polygons (l.p.5; Mt. Pilot,c'n'h, fighter jet) or sep.candles w/shape; trends' shape (harmonics), shapes' trend (l.p.3)).
-- dot: same-as (enter price for one reason, get same for another), logic dot, or viral grid
__ shape (ex.): "a divergent logr in latter of a balance then expand/45's into logr-ish corner" __
B. cb feed simple anchors, shapes w/repetition (~ A's instant) volume:(curve-)momo-range) C:L:M (Curve four-(or infinite- (wide (unfilled) anchor(-dependent(for structure of) shapes of price-time balance; a longer diameter curves near a price-time point anchor)),Logr one-((small anchor of price-time balance) or three-),Midline two-way (price or time balance) balance) areas PA.
midline 2 opt 1,3, thus logr or infinite and own/in circle; logr w/circle hold, midline continue; circle wide anchor --
that is, progression , ellipse on a stick, lp1(cycle type) or ls2 simple/formulaic (shape) repetition;
__ repetition is described, in an abstracted example: "From definiteness/size set of one, then another of same size promising much bigger, then the minor last one switching with the first, so that resolution of the switch brings also fulfilling the promise of the other , and as well, the first, because the frame of the first influenced that of the third, returns after the second does." __
__ some drawing-device uses -- Gann Fan, w/initial-high and logr:midline rules -- regular,separated,adverse line,extended,backwards. trendline -- divergence,dissonance,midline,line segment,ray.
lp3 -- centered origin,blobs triangulated,plain vertical screen vs. another repeat of pattern,proxy line,skew use.
C. d/s signalling two-anchor directioncycle direction of trend angles (body, rfb) vs. V,H. Most-direct signal thru fbr(fight-or-flight response(w/positions),broaden-and-build theory,relaxation response w/tension. L(ogr) w/M(idline): contract,expand,volatility-- average C(urve) skews front-back.
cycle,balance,triangle,arc,rectangle
cycle The purest shape, balance, neutral of direction, defines price and time in all directions; it can also average them over time, such as a cycle. Range is within cycle. Range's triangle (logr/momo) starts(vs. self,stops; (tri)angle-count,measures), its arc (big pivot) loosens(vs. self,tightens; (tri/rect)angle-count,measures), and its rectangle ((mid-)line) stops(vs. self,starts; (rect)angle-count,measures) trend. Trend defines a part of the cycle.
D. memory cell one-anchor (touch) direction (invisible marker) pace (trendlines: straighter easier to veer; momo, line adjusts close shape more; a curve, merging likely(w/affect proj'n varied)) (1/3,1/2 (w/1/4 rule),fib, expansion/contraction);
E. gc line zero Cycle. C DRAW -- ADAPTATION passive/aggression / valence / internalization/projection E DRAW -- ORIGIN awareness/dissociation/focus A DRAW -- PROJECTION delusion/order/ trap-situation D TRADE -- OBJECT position/label B TRADE -- ACTION mistake/leverage/production










p1, new:

PATTERNS

1. basic patterns The others build on these, and make energy paths easiest. The balance can get complex, only, as it can be a trendline, a single dot, a short line segment, a plus sign, etc.; thus, this category could be named 'centrally-defined patterns' that mostly avoid the other patterns from defining them.
.pattern:...................rectangle,cycle,dot(or line:balance),arc,triangle
.reason:..........................stop,...tighten,.balance,...loosen,start
.energy....action/function: .....expend..........................potential
paths:.....object/form:...........potential.........................expend
2. fully self-enclosed patterns Harmonics are an example of one type, they being (in this category's definition) high-cycling rectangles, more often independent, whose cycles are precisely counterweighted for rectangle with arc/triangle exception to determine direction. Grouped pivot turns such as double/triple bottoms/tops, Adam and Eves, and head-and-shoulders, are the opposite: They are low-cycling sides of a triangle, more often dependent, whose arc is precisely counterweighted for triangle with cycle/rectangle exception to determine direction.
3. basic-pattern combos -- The other categories are either mostly a rectangle or a triangle, or more a cycle or an arc. This category opposes the two, or uses the pure form of two or three patterns and opposes or combines them.
l.p.5 is a rectangle and a triangle balanced on a line segment,each other, several line segments, or some other things. Mt. Pilot, a cap (arc, balance line) shape and so another multiple filled polygons shape, runs up then down closer to a symmetric triangle.
4. originating-anchor fans/grids-- Balance point at the start, then arc with overall triangle, an internal cycle that leads to the fan's stop when 'rectangularizes' enough. MT4 seems to have caught onto and developed well this idea, what with fib and Gann Fans.
I guess there should be a triangle equivalent, perhaps Gann (Gann Fan, w/initial-high and logr:midline rules -- regular,separated,adverse line,extended,backwards) or other anchored fan themselves, given the striations anchored on one side, especially given a Gann Fan turns into an arc near its (temporary) high.
Opposing is grid, mid-ground viral grid, logic dot.
5. mid-anchor-screened fans/ centrally-anchored grids -- note: 'Mid-' can be literal, pseudo-, or a convenience to describe significantly later than at the start of the originating pattern(s).
ls2,l.p.3 l.p.3, as a kind of triangle more often, aligns vertical midlines with a later screen to record an arc. Internally-balanced areas are best: Variations include extra horizontals with an opposed-center area, extra verticals with a large area's pieces repeating in a second large area, a compromise needing a vertical screen to complete is centeredness, and so on.
ls2, as a kind of rectangle, aligns a horizontal midline with the midline's section of a pattern (all, if small, or some, if large), and then (pseudo-)squares the length of that midline so that the midpoint of that midline hits both the midpoint of a vertical run and a major cycle turn at the same time, and next does the same for the endpoint. Directional-balanced areas are best, from a larger triangle to a small, pivotal shape amidst a larger momentum.








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

p1, added roller language, that is, stocks, to the mix:

PATTERNS

1. basic patterns The others build on these, and make energy paths easiest. The balance can get complex, only, as it can be a trendline, a single dot, a short line segment, a plus sign, etc.; thus, this category could be named 'centrally-defined patterns' that mostly avoid the other patterns from defining them.
.pattern for 2 (pair(,)):...................rectangle,cycle,dot(or line:balance),arc,triangle
. and thereason w/each:..........................stop,...tighten,.balance,...loosen,start
roller language (1:individual).........stability(rectangle); cycle(barely);exta pieces --line,dot,(nothing);spike,peak,unsure : not in that order, it being spike,unsure,stability,peak,cycle,extra
2. fully self-enclosed patterns Harmonics are an example of one type, they being (in this category's definition) high-cycling rectangles, more often independent, whose cycles are precisely counterweighted for rectangle with arc/triangle exception to determine direction. Grouped pivot turns such as double/triple bottoms/tops, Adam and Eves, and head-and-shoulders, are the opposite: They are low-cycling sides of a triangle, more often dependent, whose arc is precisely counterweighted for triangle with cycle/rectangle exception to determine direction.
3. basic-pattern combos -- The other categories are either mostly a rectangle or a triangle, or more a cycle or an arc. This category opposes the two, or uses the pure form of two or three patterns and opposes or combines them.
l.p.5 is a rectangle and a triangle balanced on a line segment,each other, several line segments, or some other things. Mt. Pilot, a cap (arc, balance line) shape and so another multiple filled polygons shape, runs up then down closer to a symmetric triangle.
4. originating-anchor fans/grids-- Balance point at the start, then arc with overall triangle, an internal cycle that leads to the fan's stop when 'rectangularizes' enough. MT4 seems to have caught onto and developed well this idea, what with fib and Gann Fans.
I guess there should be a triangle equivalent, perhaps Gann (Gann Fan, w/initial-high and logr:midline rules -- regular,separated,adverse line,extended,backwards) or other anchored fan themselves, given the striations anchored on one side, especially given a Gann Fan turns into an arc near its (temporary) high.
Opposing is grid, mid-ground viral grid, logic dot.
5. mid-anchor-screened fans/ centrally-anchored grids -- note: 'Mid-' can be literal, pseudo-, or a convenience to describe significantly later than at the start of the originating pattern(s).
ls2,l.p.3 l.p.3, as a kind of triangle more often, aligns vertical midlines with a later screen to record an arc. Internally-balanced areas are best: Variations include extra horizontals with an opposed-center area, extra verticals with a large area's pieces repeating in a second large area, a compromise needing a vertical screen to complete is centeredness, and so on.
ls2, as a kind of rectangle, aligns a horizontal midline with the midline's section of a pattern (all, if small, or some, if large), and then (pseudo-)squares the length of that midline so that the midpoint of that midline hits both the midpoint of a vertical run and a major cycle turn at the same time, and next does the same for the endpoint. Directional-balanced areas are best, from a larger triangle to a small, pivotal shape amidst a larger momentum.












energy paths
--conditioned with chemical matches
___________________________

push-pull: dopamine-acetylcholine ~ taking charge of it - doing the task
on-off(pure): adrenaline-serotonin ~ fight-or-flight - relaxation
on-off(attrition): glutamine-GABA ~ group,pervasive use,volatile: on/off
tend: oxytocin - anti-diuretic ~ care - spare
set: testosterone-estrogen ~ test-establish
etc.







"Red flags to look for include:

Crossed arms
Crossing your arms comes across as a potential shield to prevent others from coming close. It states that you are not open for communication or advancement.

Feet or Hips pointing in a direction away from you
It shows a disinterest and the interest of the party to make a move away from you.

Resting chin in hand
This makes it look like the person can hardly stay awake or is bored.

Tapping of foot or objects
This indicates frustration, boredom or ignoring.

No direct eye contact
This is a huge flag! If someone cannot look you in the eye, he or she is very uncomfortable with you.

Hands over mouth
This indicates the person is covering something up or being deceitful.

Propped back in a chair
This shows signs of arrogance and conveys the message, stay your distance or I could care less what you think.

Display of your palms down
This dominant feature suggests control.

Placement of objects or body parts in front of the person
For instance, placement of a purse or briefcase on the table indicates a subliminal message to separate each person.

Weed out the fake smile
To know if someone is giving you a genuine smile, look for the corners of the lips to turn up, the eyes shape into half-moons, and you will always see those telltale signs of the crinkle of the crows-feet at the corners of the eyes." 1

loud,

I'll control an entity by making the entity uncontrollable by self and thus with own standards of identity,







http://www.personal.reading.ac.uk/~s...2004_C%26E.pdf


screechers, "Boy!", expectation of behavior, projection of miscreant identity, timed interruption, physical projective positioning of voice into body to elicit autonomic interactive, physiological triggers concept-relative physical response

Okay, got it:

http://cte.uwaterloo.ca/teaching_res...trategies.html
"Effective Communication: Barriers and Strategies

Click this icon to listen to the audio version of this Tip Sheet

While there are many subtleties to communication between people, some basic skills can help you to be a more effective communicator. This document will explore Barriers to Listening, and Strategies for Effective Listening; Barriers to Accurate Perception, and Strategies for Accurate Perception; Barriers to Effective Verbal Communication, and Strategies for Effective Verbal Communication.

Barriers to Listening
Focusing on a personal agenda. When we spend our listening time formulating our next response, we cannot be fully attentive to what the speaker is saying.

Experiencing information overload. Too much stimulation or information can make it very difficult to listen with full attention. Try to focus on the relevant information, and the central points that are being conveyed.

Criticizing the speaker. Do not be distracted by critical evaluations of the speaker. Focus on what they are saying - the message - rather than the messenger.

Getting distracted by emotional noise. We react emotionally to certain words, concepts and ideas, and to a myriad of other cues from speakers (appearance, non-verbal cues). Make a conscious effort to quiet your own emotional reactions so that you can listen properly.

Getting distracted by external “noise”. Audible noise may be extremely distracting. Some things can be minimized – e.g., turn down the ringer on your phone, and the email beep on the computer while meeting with someone. Other noises may be unavoidable – e.g., construction, other people. Also, there may be figurative “noise” from the external environment, such as distracting or inappropriate decor in a room, or environmental conditions such as the room being too hot or cold.

Experiencing physical difficulty. Feeling physically unwell, or experiencing pain can make it very difficult to listen effectively. You may wish to communicate that this is not a good time, and reschedule the discussion. Otherwise, you may just need to concentrate even more on the task of listening.
Strategies for Effective Listening
Stop. Focus on the other person, their thoughts and feelings. Consciously focus on quieting your own internal commentary, and step away from your own concerns to think about those of the speaker. Give your full attention to the speaker.

Look. Pay attention to non-verbal messages, without letting yourself be distracted. Notice body language and non-verbal cues to allow for a richer understanding of the speaker’s point. However, avoid getting distracted from the verbal message.

Listen. Listen for the essence of the speaker’s thoughts: details, major ideas and their meanings. Seek an overall understanding of what the speaker is trying to communicate, rather than reacting to the individual words or terms that they use to express themselves.

Be empathetic. Imagine how you would feel in their circumstances. Be empathetic to the feelings of the speaker, while maintaining a calm centre within yourself. You need not be drawn into all of their problems or issues, as long as you acknowledge what they are experiencing.

Ask questions. Use questions to clarify your understanding, as well as to demonstrate interest in what is being said.
Barriers to Accurate Perception
Stereotyping and generalizing. Be careful not to hold on to preconceptions about people or things. We often have a tendency to see what we want to see, forming an impression from a small amount of information or one experience, and assuming that to be highly representative of the whole person or situation.

Not investing time. Making assumptions and ignoring details or circumstances can lead to misconceptions. When we fail to look in-depth for causes or circumstances, we miss important details, and do not allow for the complexity of the situation.

Having a distorted focus. Focusing on the negative aspects of a conversation or a situation is a habit common to many people. Even though we may recognize the positive things, we often give more weight to the negative, allowing one negative comment to overshadow numerous positive ones.

Assuming similar interpretations. Not everyone will draw the same conclusions from a given situation or set of information. Everybody interprets things differently. Make sure to check for other people’s interpretations, and be explicit about your own.

Experiencing incongruent cues. As speakers, and as listeners, we are constantly and simultaneously sending cues and receiving them from other people. Try to be consistent with your verbal cues and your body language. Do not say one thing and express something else through your body language. Be aware of how your non-verbal communication relates to your spoken words. If someone else seems to be sending a double message -- by saying one thing and expressing something else in their body language -- ask for clarification.
Strategies for Accurate Perception
Analyze your own perceptions. Question your perceptions, and think about how they are formed. Check in with others around you regularly, and be aware of assumptions that you are making. Seek additional information and observations. You may just need to ask people if your perceptions are accurate.

Work on improving your perception. Increase your awareness of barriers to perception, and which ones you tend towards. Check in with yourself regularly. Seek honest, constructive feedback from others regarding their perceptions of you as a means of increasing your selfawareness.

Focus on others. Develop your ability to focus on other people, and understand them better by trying to gather knowledge about them, listening to them actively, and imagining how you would feel in their situation.
Barriers to Effective Verbal Communication
Lacking clarity. Avoid abstract, overly-formal language, colloquialisms, and jargon, which obscure your message more than they serve to impress people.

Using stereotypes and generalizations. Speakers who make unqualified generalizations undermine their own clarity and credibility. Be careful not to get stuck in the habit of using stereotypes, or making generalizations about complex systems or situations. Another form of generalization is “polarization” or creating extremes. Try to be sensitive to the complexities of situations, rather than viewing the world in black and white.

Jumping to conclusions. Confusing facts with inferences is a common tendency. Do not assume you know the reasons behind events, or that certain facts necessarily have certain implications. Make sure you have all the information you can get, and then speak clearly about the facts versus the meanings or interpretations you attach to those.

Dysfunctional responses. Ignoring or not responding to a comment or question quickly undermines effective communication. Likewise, responding with an irrelevant comment -- one that isn't connected to the topic at hand -- will quash genuine communication. Interrupting others while they are speaking also creates a poor environment for communication.

Lacking Confidence. Lacking confidence can be a major barrier to effective communication. Shyness, difficulty being assertive, or lack of self-worth can hinder your ability to make your needs and opinions known. Also, a lack of awareness of your own rights and opportunities in a given situation can prevent you from expressing your needs openly.
Strategies for Effective Verbal Communication
Focus on the issue, not the person. Try not to take everything personally, and similarly, express your own needs and opinions in terms of the job at hand. Solve problems rather than attempt to control others. For example, rather than criticizing a co-worker’s personality, express your concerns in terms of how to get the job done more smoothly in the future.

Be genuine rather than manipulative. Be yourself, honestly and openly. Be honest with yourself, and focus on working well with the people around you, and acting with integrity.

Empathize rather than remain detached. Although professional relationships entail some boundaries when it comes to interaction with colleagues, it is important to demonstrate sensitivity, and to really care about the people you work with. If you don’t care about them, it will be difficult for them to care about you when it comes to working together.

Be flexible towards others. Allow for other points of view, and be open to other ways of doing things. Diversity brings creativity and innovation.

Value yourself and your own experiences. Be firm about your own rights and needs. Undervaluing yourself encourages others to undervalue you, too. Offer your ideas and expect to be treated well.

Present yourself as an equal rather than a superior. Even when you are in a position of authority, focus on what you and the other person each have to offer and contribute to the job or issue.

Use affirming responses. Respond to other in ways that acknowledge their experiences. Thank them for their input. Affirm their right to their feelings, even if you disagree. Ask questions, express positive feeling; and provide positive feedback when you can. "

Still goofing off.




http://www.marcandangel.com/2010/05/...rn-new-skills/
http://www.wikihow.com/Main-Page

http://www.wikihow.com/Understand-Debits-and-Credits



























----


okay, on again.



p1 adj:












day one -- action (to make energy series;traces in various medium (a neural plexus, the gut, all cartilage,environs' inter-object position w/potential moves,in/external action series))

PATTERNS

1. basic patterns The others build on these, and make energy paths easiest. The balance can get complex, only, as it can be a trendline, a single dot, a short line segment, a plus sign, etc.; thus, this category could be named 'centrally-defined patterns' that mostly avoid the other patterns from defining them.
.pattern for 2 (pair(,)):...................rectangle,cycle,dot(or line:balance),arc,triangle
. and thereason w/each:..........................stop,...tighten,.balance,...loosen,start
roller language (1:individual).........stability(rectangle); cycle(barely);exta pieces --line,dot,(nothing);spike,peak,unsure : not in that order, it being spike,unsure,stability,peak,cycle,extra
another way to list'em
stability -- break w/3Methods,make w/cycles,surround w/rectangle;
balance or partial -- curve,line,dot (trend angle turns on the vertical/horizontal/45: fold,spike,roll,high/low volatility);
surround w/triangle,break w/spike(flag,or momo that breaks a higher level), make w/peak(momo that returns)
2. fully self-enclosed patterns Harmonics are an example of one type, they being (in this category's definition) high-cycling rectangles, more often independent, whose cycles are precisely counterweighted for rectangle with arc/triangle exception to determine direction. Grouped pivot turns such as double/triple bottoms/tops, Adam and Eves, and head-and-shoulders, are the opposite: They are low-cycling sides of a triangle, more often dependent, whose arc is precisely counterweighted for triangle with cycle/rectangle exception to determine direction.
3. basic-pattern combos -- The other categories are either mostly a rectangle or a triangle, or more a cycle or an arc. This category opposes the two, or uses the pure form of two or three patterns and opposes or combines them.
l.p.5 is a rectangle and a triangle balanced on a line segment,each other, several line segments, or some other things. Mt. Pilot, a cap (arc, balance line) shape and so another multiple filled polygons shape, runs up then down closer to a symmetric triangle.
4. originating-anchor fans/grids-- Balance point at the start, then arc with overall triangle, an internal cycle that leads to the fan's stop when 'rectangularizes' enough. MT4 seems to have caught onto and developed well this idea, what with fib and Gann Fans.
I guess there should be a triangle equivalent, perhaps Gann (Gann Fan, w/initial-high and logr:midline rules -- regular,separated,adverse line,extended,backwards) or other anchored fan themselves, given the striations anchored on one side, especially given a Gann Fan turns into an arc near its (temporary) high.
Opposing is grid, mid-ground viral grid, logic dot.
5. mid-anchor-screened fans/ centrally-anchored grids -- note: 'Mid-' can be literal, pseudo-, or a convenience to describe significantly later than at the start of the originating pattern(s).
ls2,l.p.3 l.p.3, as a kind of triangle more often, aligns vertical midlines with a later screen to record an arc. Internally-balanced areas are best: Variations include extra horizontals with an opposed-center area, extra verticals with a large area's pieces repeating in a second large area, a compromise needing a vertical screen to complete is centeredness, and so on.
ls2, as a kind of rectangle, aligns a horizontal midline with the midline's section of a pattern (all, if small, or some, if large), and then (pseudo-)squares the length of that midline so that the midpoint of that midline hits both the midpoint of a vertical run and a major cycle turn at the same time, and next does the same for the endpoint. Directional-balanced areas are best, from a larger triangle to a small, pivotal shape amidst a larger momentum.


day two -- chemicals (to characterize ordered sources of energy;mindbody-shared neurotransmitters)
push-pull: dopamine-acetylcholine ~ taking charge of it - doing the task
on-off(pure): adrenaline-serotonin ~ fight-or-flight - relaxation
on-off(attrition): glutamine-GABA ~ group,pervasive use,volatile: on/off
tend: oxytocin - anti-diuretic ~ care - spare
set: testosterone-estrogen ~ test-establish
testosterone w/ vasopressin and fight-or-flight - estrogen w/oxytocin (former s__ viscera,latter pituitary(emotion,) and "tend-or-befriend" - "broaden-and-build" - "relaxation response" ~
etc.

day three -- interference* patterns (to categorize source/series interruption;electric impulse-ego-overwhelm vs. chemical balance,action results)
*loud, sharp, dissonant, negative, already-a-sure-given : http://cte.uwaterloo.ca/teaching_res...trategies.html









-----------

"Effective Communication: Barriers and Strategies

Click this icon to listen to the audio version of this Tip Sheet

While there are many subtleties to communication between people, some basic skills can help you to be a more effective communicator. This document will explore Barriers to Listening, and Strategies for Effective Listening; Barriers to Accurate Perception, and Strategies for Accurate Perception; Barriers to Effective Verbal Communication, and Strategies for Effective Verbal Communication.

Barriers to Listening
Focusing on a personal agenda. When we spend our listening time formulating our next response, we cannot be fully attentive to what the speaker is saying.

Experiencing information overload. Too much stimulation or information can make it very difficult to listen with full attention. Try to focus on the relevant information, and the central points that are being conveyed.

Criticizing the speaker. Do not be distracted by critical evaluations of the speaker. Focus on what they are saying - the message - rather than the messenger.

Getting distracted by emotional noise. We react emotionally to certain words, concepts and ideas, and to a myriad of other cues from speakers (appearance, non-verbal cues). Make a conscious effort to quiet your own emotional reactions so that you can listen properly.

Getting distracted by external “noise”. Audible noise may be extremely distracting. Some things can be minimized – e.g., turn down the ringer on your phone, and the email beep on the computer while meeting with someone. Other noises may be unavoidable – e.g., construction, other people. Also, there may be figurative “noise” from the external environment, such as distracting or inappropriate decor in a room, or environmental conditions such as the room being too hot or cold.

Experiencing physical difficulty. Feeling physically unwell, or experiencing pain can make it very difficult to listen effectively. You may wish to communicate that this is not a good time, and reschedule the discussion. Otherwise, you may just need to concentrate even more on the task of listening.
Strategies for Effective Listening
Stop. Focus on the other person, their thoughts and feelings. Consciously focus on quieting your own internal commentary, and step away from your own concerns to think about those of the speaker. Give your full attention to the speaker.

Look. Pay attention to non-verbal messages, without letting yourself be distracted. Notice body language and non-verbal cues to allow for a richer understanding of the speaker’s point. However, avoid getting distracted from the verbal message.

Listen. Listen for the essence of the speaker’s thoughts: details, major ideas and their meanings. Seek an overall understanding of what the speaker is trying to communicate, rather than reacting to the individual words or terms that they use to express themselves.

Be empathetic. Imagine how you would feel in their circumstances. Be empathetic to the feelings of the speaker, while maintaining a calm centre within yourself. You need not be drawn into all of their problems or issues, as long as you acknowledge what they are experiencing.

Ask questions. Use questions to clarify your understanding, as well as to demonstrate interest in what is being said.
Barriers to Accurate Perception
Stereotyping and generalizing. Be careful not to hold on to preconceptions about people or things. We often have a tendency to see what we want to see, forming an impression from a small amount of information or one experience, and assuming that to be highly representative of the whole person or situation.

Not investing time. Making assumptions and ignoring details or circumstances can lead to misconceptions. When we fail to look in-depth for causes or circumstances, we miss important details, and do not allow for the complexity of the situation.

Having a distorted focus. Focusing on the negative aspects of a conversation or a situation is a habit common to many people. Even though we may recognize the positive things, we often give more weight to the negative, allowing one negative comment to overshadow numerous positive ones.

Assuming similar interpretations. Not everyone will draw the same conclusions from a given situation or set of information. Everybody interprets things differently. Make sure to check for other people’s interpretations, and be explicit about your own.

Experiencing incongruent cues. As speakers, and as listeners, we are constantly and simultaneously sending cues and receiving them from other people. Try to be consistent with your verbal cues and your body language. Do not say one thing and express something else through your body language. Be aware of how your non-verbal communication relates to your spoken words. If someone else seems to be sending a double message -- by saying one thing and expressing something else in their body language -- ask for clarification.
Strategies for Accurate Perception
Analyze your own perceptions. Question your perceptions, and think about how they are formed. Check in with others around you regularly, and be aware of assumptions that you are making. Seek additional information and observations. You may just need to ask people if your perceptions are accurate.

Work on improving your perception. Increase your awareness of barriers to perception, and which ones you tend towards. Check in with yourself regularly. Seek honest, constructive feedback from others regarding their perceptions of you as a means of increasing your selfawareness.

Focus on others. Develop your ability to focus on other people, and understand them better by trying to gather knowledge about them, listening to them actively, and imagining how you would feel in their situation.
Barriers to Effective Verbal Communication
Lacking clarity. Avoid abstract, overly-formal language, colloquialisms, and jargon, which obscure your message more than they serve to impress people.

Using stereotypes and generalizations. Speakers who make unqualified generalizations undermine their own clarity and credibility. Be careful not to get stuck in the habit of using stereotypes, or making generalizations about complex systems or situations. Another form of generalization is “polarization” or creating extremes. Try to be sensitive to the complexities of situations, rather than viewing the world in black and white.

Jumping to conclusions. Confusing facts with inferences is a common tendency. Do not assume you know the reasons behind events, or that certain facts necessarily have certain implications. Make sure you have all the information you can get, and then speak clearly about the facts versus the meanings or interpretations you attach to those.

Dysfunctional responses. Ignoring or not responding to a comment or question quickly undermines effective communication. Likewise, responding with an irrelevant comment -- one that isn't connected to the topic at hand -- will quash genuine communication. Interrupting others while they are speaking also creates a poor environment for communication.

Lacking Confidence. Lacking confidence can be a major barrier to effective communication. Shyness, difficulty being assertive, or lack of self-worth can hinder your ability to make your needs and opinions known. Also, a lack of awareness of your own rights and opportunities in a given situation can prevent you from expressing your needs openly.
Strategies for Effective Verbal Communication
Focus on the issue, not the person. Try not to take everything personally, and similarly, express your own needs and opinions in terms of the job at hand. Solve problems rather than attempt to control others. For example, rather than criticizing a co-worker’s personality, express your concerns in terms of how to get the job done more smoothly in the future.

Be genuine rather than manipulative. Be yourself, honestly and openly. Be honest with yourself, and focus on working well with the people around you, and acting with integrity.

Empathize rather than remain detached. Although professional relationships entail some boundaries when it comes to interaction with colleagues, it is important to demonstrate sensitivity, and to really care about the people you work with. If you don’t care about them, it will be difficult for them to care about you when it comes to working together.

Be flexible towards others. Allow for other points of view, and be open to other ways of doing things. Diversity brings creativity and innovation.

Value yourself and your own experiences. Be firm about your own rights and needs. Undervaluing yourself encourages others to undervalue you, too. Offer your ideas and expect to be treated well.

Present yourself as an equal rather than a superior. Even when you are in a position of authority, focus on what you and the other person each have to offer and contribute to the job or issue.

Use affirming responses. Respond to other in ways that acknowledge their experiences. Thank them for their input. Affirm their right to their feelings, even if you disagree. Ask questions, express positive feeling; and provide positive feedback when you can.
Resources

Beebe et al. Interpersonal Communication: Relating to Others 2nd Canadian Edition. (Scarborough, Ontario: Allyn and Bacon, 2000). Some additional ideas have been added.
The Centre for Teaching Excellence
Environment 1, Office 325
University of Waterloo
200 University Avenue West
Waterloo, Ontario, Canada N2L 3G1

CTE Phone: 519 888 4567, x 33353
CTE Fax: 519 888 9806
Email: [email protected]" 1








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










http://webcache.googleusercontent.co...trategies.html




p1 new:






dividing gut trace into use: dot(object)-line(axis) activation memory cell and electricity -- catalyze (limit -- >=<); current level of beta stillness -- where to-object activation occurs (stops: close-far,before-after,break-even); stuck cartilage shape -- object (study) No R:R/W:L, it's drawing.

CENTER SHIFT ORGANIZATION OF PATTERNS AROUND MOSTLY RANDOM BEHAVIOR

1. CENTERED Pure shapes around a balance, esp. trend angle turns on the vertical/horizontal/45: fold,spike,roll,high/low volatility. two(center shift):....... rectangle,cycle, dot or line: balance,arc,triangle. one(repeated set):......flag,unsure,rectangle,spike-and-arc,arc(,dot, line,(nothing))
2. SLIGHTLY OFF-CENTER Harmonics are dense and precise high-cycling areas of nondescript trend angles and lengths; grouped pivot turns such as double/triple bottoms/tops, Adam and Eves, and head-and-shoulders, are the dense and precise highlight of a larger area.
3. OFF-CENTER AND SEPARATE Mt. Pilot,fighter jet,cup and handle,l.p.5, and other side-by-side polygon(s) + balance combos.
4. ANCHORED OFF-CENTERED From a balance shape, fans (fib,Gann,backwards-Gann,separated,adverse-line,extended); as a balance shape, grids (regular, viral(single, often momo-like line connects each small section of grid)); and to a balance shape, cycles (logic dot: slightly off-center and differently-timed cycles merge at dot, after which price fails to penetrate).
5. MAXIMALLY OFF-CENTER ANCHORS ls2 squares initial pattern's horizontal line segment's time length; then, it places a fan, with anchor at center of vertical run, at each of the mid- and endpoint of that squared line. l.p.3 triangulates from blobs, projects from rectangular opposing balances area, or otherwise balances vertical runs to cross at the midpoint of another vertical run and produce a set of skewed lines.






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trend angles

fold,spike, etc.


folds --



-- I know it works, I just don't have a verbal description of it yet.







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p1 adj:









Frame each trade with close-far of TP-SL, and break-even, from drawing methods:
2# CENTERED Pure shapes on a balance, esp. trend angle turns on the vertical/horizontal/45: fold,spike,roll,high/low volatility.
two(center shift (usu.pair)):....... rectangle,cycle, dot or line: balance,arc,triangle.
one(repeated set (usu.,ind'l)):......flag,unsure,rectangle,spike-and-arc,arc(,dot, line,(nothing))
2# SLIGHTLY OFF-CENTER Overlapping shapes one must boil down to balance shapes for comparison -- trend angle,pivot.
Harmonics are dense and precise high-cycling areas of nondescript trend angles and lengths;
grouped pivot turns such as double/triple bottoms/tops, Adam and Eves, and head-and-shoulders, are the dense and precise highlight of a larger area.
lots# OFF-CENTER AND SEPARATE Mt. Pilot,fighter jet,cup and handle,l.p.5, other side-by-side polygon(s) + balance combos.
3# ANCHORED OFF-CENTERED From a balance shape,
fans (fib,Gann,backwards-Gann,separated,adverse-line,extended); as a balance shape,
grids (regular, viral(single, often momo-like line connects each small section of grid)); and to a balance shape,
cycles (logic dot: slightly off-center and differently-timed cycles merge at dot, after which price fails to penetrate).
2# MAXIMALLY OFF-CENTER ANCHORS
ls2 squares initial pattern's horizontal line segment's time length; then, it places a fan, with anchor at center of vertical run, at each of the mid- and endpoint of that squared line.
l.p.3 triangulates from blobs, projects from rectangular opposing balances area, or otherwise balances vertical runs to cross at the midpoint of another vertical run and produce a set of skewed lines.




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Right away after blundering through several accounts before posting the above method just now,
I began intuiting new ways to draw trendlines through meshing the five listed --


EXAMPLE ONE:
a maximally off-centered anchors pattern that I did off the cuff
using a backwards Gann Fan and extra trendlines to align with old areas
to discover the first and third anchoring patterns:








EXAMPLE TWO:
used a backwards Gann Fan on another vertical-runs box, and this one hit so many midpoints and stretched across flat paths so often that it was all I could do to stop myself from repeating "COOL!"
I guess it was an off-centered anchor, only the line more balanced on the anchor in the middle, so it was also kind of like a centered.

As I get into this new approach, I find myself making just below 100 pips regularly. (No matter, I've been flummoxing with margin calls too or at least right before this, so no holding of the breath yet.)

ignore old lines, please; the main or arrowed trendline is the one concerned:

this is the centered anchor pattern:

I did a return trade on this.
Why price got so hung up on the blue vertical run on the upper mid-left of the chart above,
I can only guess. It's interesting that price did pay attention
so much to my centered anchor pattern and that vertical run, tho.

green line extends to the top of the big vertical run in the upper mid-left of the first chart in this post:









It's nice to break real, new ground in technical chart analysis.
I believe I can always be original with a new type of drawing method and at the same time be profitable, for the first time, with this charting approach.



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"1) A good strategy
2) Discipline
3) No ego/admit when you are wrong
4) Excellent risk management
5) Patience
6)Ability to be aggressive when the set up/trade is there." 1

.


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EXAMPLE THREE:


a trend-angle fold (centered) turning into an ellipse fan (anchored off-centered) into a bunch of tinier signals:


(The trend-angle fold is also a nice balance plus shape.)