Re: Emacs learning curve

[Sean Sieger <sean.sieger@gmail.com>]

    Actually no, bad one.

    I specifically chose red/green and _not_ up/down, because up from
    one vantage point is down from another.  _Not_ so for red/green.  It
    is not perverse to call something "up" which someone else might
    naturally think of as down - it depends on the context.

I recall your red / green comment ... I mean to say I recall my
confusion.  Red means right and green means left ... and even starboard
and port, in my work and leisure.

I've spent thirty years on theatrical stages where three-dimensional
orientation is key.  Facing down stage (for example) and being able to
say, reflexively, to the person opposite you, ``Goin' right ...,''
meaning moving stage right and _reflexively_ they move in the correct
direction, is key.  Not to mention house left's (or camera left's)
relationship to stage right (it's been my experience that one should
never assume that a camera person has any idea where stage left is).

Identifying objects with red paint on them as stage right pieces as
opposed to green one's that belong on the left---house right.  Um, like
in the maritime world.  People have been using un-usual terminology for
thousands of years.

Anyway, and then there's up / down.  Meaning in / out, into the scene /
out of the scene (whether it's movement through a hole in the stage or
into the upper regions of the stagehouse (the flys).  Up and down are
reserved for the forward and backward, now-days, horizontal, movement.

People that do not get this do not become rigging carpenters---they
don't get to hang stuff over people's heads.  People that can't get
stage left and right right bump into others a lot.  Some just don't work
in theater.

When I first noticed the vertical / horizontal split-thing in Emacs, I
thought to myself, ``I can make this work and save myself some time.''
When I found `C-h t', I thought, ``Cool, that's how this works and works
well.''  I'll only mention touch typing:  touch typing.