The outer wall is the eye;
Deformed is the flesh;
No dwelling there for the body, pulsating.
2. Love and caress every sound/movement and never do anything carelessly.
This may seem contradictory to the first rule. It seems to imply some judgment because "careless" could equal "wrong." Actually, it goes hand-in-hand with the idea that silence is fragile and precious. One should carry over that sensitivity that comes from the appreciation of silence into one's actions. By loving and caressing one's own sound and movement, one is also loving and caressing those subtle (or even not-so-subtle) sounds in one's environment. This is where skill or technique may play a part. The performer will respond in a refined way commiserate with his/her training and/or sensibilities.
199
Active flux.
Injury, scraping flesh from bones.
This rule invokes the binding power of love: love for the environment as it is; love for what your fellow artists are doing; and, most especially, love for what you are doing. All this supports the passive role of the improviser in this situation. All actions are done in consideration of how each affects the whole.
200
Yin: not delivered from sickness.
Again, to broaden the perspective a bit, this rule could allude to the harmony one may perceive in the universe especially when one feels like a participant in that harmonious whole. It implies that there is a perfect order of things such as how mathematicians perceive God as a mathematician. All seems to fit perfect and consistent mathematical patterns, all described by elegant formulas. However, the rule also requires our loving even the garbage dump, decaying flesh, the atomic bomb, etc. as all part of that perfection. We break the rules when something/someone seems to be breaking the rules.