style framework for new modality section

6 files changed, 45 insertions, 7 deletions

diff --git a/essays/concept_art.tex b/essays/concept_art.tex
index e46d55c..3c9034a 100644
--- a/essays/concept_art.tex
+++ b/essays/concept_art.tex
@@ -1,5 +1,8 @@
 \chapter{Concept Art (1961)}
 
+\fancyhead{} \fancyfoot{} \fancyfoot[LE,RO]{\thepage}
+\fancyhead[LE]{\textsc{The New Modality}} \fancyhead[RO]{\textit{Concept Art (1961)}}
+
 Concept art is first of all an art of which the material is concepts, as the 
 material of e.g. music is sound. Since concepts are closely bound up with 
 language, concept art is a kind of art of which the material is language. That 
@@ -101,6 +104,8 @@ irrelevant to art (and knowledge).
 
 \section{Concept Art Version of Mathematics System 3/26/61 (6/19/61)}
 
+\fancyhead[LE]{\textsc{Concept Art (1961)}} \fancyhead[RO]{\textit{Concept Art Version of Mathematics System 3/26/61 (6/19/61)}}
+
 An element is the adjacent area (with figure \ref{implications} in it) so long as the 
 apparent, perceived, ratio of the length of the vertical line to that of the 
 horizontal line (the element's associated ratio) does not change. 
@@ -126,6 +131,8 @@ order in which one sees them.]
 
 \section{Implications---Concept Art Version of Colored Sheet Music No. 1 3/14/61 (10/11/61)}
 
+\fancyhead[LE]{\textsc{Concept Art (1961)}} \fancyhead[RO]{\textit{Implications---Concept Art Version of Colored Sheet Music No. 1 3/14/61 (10/11/61)}}
+
 [This is a mathematical system without general concepts of statement, 
 implication, axiom, and proof. Instead, you make the object, and stipulate 
 by ostension that it is an axiom, theorem, or whatever. My thesis is that 
@@ -170,6 +177,8 @@ reduction together constitute the theorem.
 
 \section{Concept Art: \sysname{Innperseqs} (May--July 1961)}
 
+\fancyhead[LE]{\textsc{Concept Art (1961)}} \fancyhead[RO]{\textit{Concept Art: \sysname{Innperseqs} (May--July 1961)}}
+
 \begin{sysrules}
 	A \enquote{h\u{a}lpoint} iff whatever is at any point in space, in the fading rainbow halo 
 which appears to surround a small bright light when one looks at it through 
@@ -193,6 +202,8 @@ one member.
 
 \section{\sysname{Indeterminacy}}
 
+\fancyhead[LE]{\textsc{Concept Art (1961)}} \fancyhead[RO]{\textit{Concept Art: \sysname{Indeterminacy}}}
+
 \begin{sysrules}
 	A $\ulcorner$totally determinate inn`pers\u{e}q$\urcorner$ iff an inn`pers\u{e}q in which one is aware of 
 	(specifies) all h\u{a}lpoints. 
diff --git a/essays/dream_reality.tex b/essays/dream_reality.tex
index 109aee2..1a385fc 100644
--- a/essays/dream_reality.tex
+++ b/essays/dream_reality.tex
@@ -2,6 +2,9 @@
 
 \section{Memo on the Dream Project}
 
+\fancyhead{} \fancyfoot{} \fancyfoot[LE,RO]{\thepage}
+\fancyhead[LE]{\textsc{The Dream Reality}} \fancyhead[RO]{\textit{Memo on the Dream Project}}
+
 Original aim: To recreate the effect of e.g. Pran Nath's singing---transcendent 
 inner escape---in direct life rather than art. I needed material which could 
 function as an alien civilization (since the source of Pran Nath's expression is 
@@ -35,6 +38,7 @@ combine conscious ideational direction---coding of the banal dreams---with
 alteration of my experience, my esthesia, my lived experience. 
 
 \section{Dreams and Reality---An Experimental Essay}
+\fancyhead[LE]{\textsc{The Dream Reality}} \fancyhead[RO]{\textit{Dreams and Reality---An Experimental Essay}}
 
 Excerpts from my dream diary which are referred-to in the essay that 
 follows. 
@@ -639,7 +643,9 @@ dreams, in language which blocks any implications about reality, are what we
 should strive for. And if ve cease to be stable object gestalts for others, 
 maybe our stable object gestalts will not even appear in their dreams. 
 
-\section*{Note on how to remember dreams}
+\clearpage
+\section{Note on How to Remember Dreams}
+\fancyhead[LE]{\textsc{The Dream Reality}} \fancyhead[RO]{\textit{Note on How to Remember Dreams}}
 
 The trick in remembering a dream is to fix in your mind one incident or 
 theme in the dream immediately upon awaking from it. You will then be 
diff --git a/essays/energy_cube1961.tex b/essays/energy_cube1961.tex
index 538b62a..0205250 100644
--- a/essays/energy_cube1961.tex
+++ b/essays/energy_cube1961.tex
@@ -2,6 +2,9 @@
 
 \section*{Foreward}
 
+\fancyhead{} \fancyfoot{} \fancyfoot[LE,RO]{\thepage}
+\fancyhead[LE]{\textsc{The New Modality}} \fancyhead[RO]{\textit{Representation of the Memory of an Energy Cube Organism (1961)}}
+
 I have refrained from editing the Original Version except where 
 absolutely necessary. It is full of inconsistencies and inadequate 
 explanations, but I have flagged only two major ones, by placing them 
diff --git a/essays/energy_cube1966.tex b/essays/energy_cube1966.tex
index dbabc64..cdb387e 100644
--- a/essays/energy_cube1966.tex
+++ b/essays/energy_cube1966.tex
@@ -1,5 +1,8 @@
 \chapter{Representation of the Memory of an Energy Cube Organism (1966)}
 
+\fancyhead{} \fancyfoot{} \fancyfoot[LE,RO]{\thepage}
+\fancyhead[LE]{\textsc{The New Modality}} \fancyhead[RO]{\textit{Representation of the Memory of an Energy Cube Organism (1966)}}
+
 The energy cube organism is a conscious organism which is nothing but 
 energy confined to a cubical space. It rests on a rectangular energy slab, in a 
 stationary, colorless liquid, separated from the slab by a thin film of liquid. 
@@ -73,7 +76,6 @@ the new number of partials.
 \label{ecubegraph}
 \end{figure}
 
-
 Now the complete memory is obtained by going through the partials---in 
 any order! Any order gives the memory. This feature, which can be 
 precisely characterized in terms of the memory language, is perhaps the most 
@@ -99,7 +101,7 @@ visualize. There are visualized regions of colored liquids. Call them \enquote{f
 colors.} There are visualized glowing surfaces, and there are black regions or 
 \enquote{holes.} There are visualized \enquote{covers,} \enquote{lattices,} and \enquote{shells,} which are all 
 formed from transparent planes, spherical surfaces and the like. Call them 
-\enquote{orojected surfaces.} The fluid colors can be stationary or flowing. There are 
+\enquote{projected surfaces.} The fluid colors can be stationary or flowing. There are 
 \enquote{channels,} which are strung-out series of fluid colors. There are 
 \enquote{reservoirs,} which are clusters of fluid colors. A channel can be closed or 
 open. Two channels can cross each other. There are pairs of channels such 
@@ -185,7 +187,7 @@ and by which method.
 \section*{The Representation}
 
 This essay accompanies a representation of the energy cube organism's 
-memory ---hence its title. The way to picture the memory, naturally, is to 
+memory---hence its title. The way to picture the memory, naturally, is to 
 make something that looks like the partials. I have represented the partials 
 by rectangular sheets of paper of different translucencies with mixtures of 
 inks of primary colors on them and holes cut in them; together in an 
diff --git a/essays/mock_risk_games.tex b/essays/mock_risk_games.tex
index 70c45bf..3971dac 100644
--- a/essays/mock_risk_games.tex
+++ b/essays/mock_risk_games.tex
@@ -4,6 +4,9 @@
 
 \chapter{Mock Risk Games}
 
+\fancyhead{} \fancyfoot{} \fancyfoot[LE,RO]{\thepage}
+\fancyhead[LE]{\textsc{The New Modality}} \fancyhead[RO]{\textit{Mock Risk Games}}
+
 Suppose you stand in front of a swinging door with a nail sticking out of it 
 pointing at your face; and suppose you are prepared to jump back if the 
 door suddenly opens in your face. You are deliberately taking a risk on the 
@@ -173,11 +176,12 @@ lattice to escape them.
 In developing the original games---and the present games---I had two objectives in mind. First, the experience of playing the games (as opposed to reading or analyzing them) must involve or compel you, must be vivid and immediate. Secondly, the misfortunes must be elegant, undreamed-of \enquote{explosions} of the natural order. These objectives, though, do not constitute a use for the games. The games can have many uses, beginning with amusement; and it remains to be seen what the most significant use will be.}
 
 \section{Intrusions}
+\fancyhead[LE]{\textsc{Mock Risk Games}} \fancyhead[RO]{\textit{Intrusions}}
 
 A noise in an adjacent room may intrude on a person playing a mock
 risk game, and affect his experience or state of being in a variety of ways.
 Let us consider the effects of such \enquote{intrusions} on the player's state. There
-are several kinds of intructions. \enquote{Distractions} are perceived by the player to
+are several kinds of instructions. \enquote{Distractions} are perceived by the player to
 be unrelated to the game, and tend simply to take his mind off it. \enquote{Bogies}
 are surprises which so fit in with the game that the player momentarily
 thinks a freak misfortune has really begun; they tend to frighten the player 
@@ -211,6 +215,7 @@ experimenter should question the subject about his reaction if it is
 appropriate.
 
 \section{Mock Risk Games for Couples (Duo Games)}
+\fancyhead[LE]{\textsc{Mock Risk Games}} \fancyhead[RO]{\textit{Mock Risk Games for Couples (Duo Games)}}
 
 In order for these games to be successful,  each of you has to have confidence that the other is actually playing. If you lack this confidence, you forget the game and just watch out for intrusions created by the other.
 
@@ -223,7 +228,7 @@ In order for these games to be successful,  each of you has to have confidence t
 
 	\item Just as the other is putting his foot down to make a step, he suddenly becomes so large that his foot is descending right over your head. At the same time, the mental commands of each of you to your muscles begin to be transmitted to the other's muscles rather than your own, and to be executed by his muscles rather than by yours. Thus, you must jerk \enquote{your}\slash \enquote{his} foot back, rather than complete the step, in order not to "step on your own head." The two of you should walk in step, right foot with right and left with left. Watch the other's feet and also watch above yourself---using your vertical peripheral vision to do so. In short, if you suddenly see a giant foot coming down on you, jerk \enquote{your} forward foot back.
 
-	\item (This misfortune is exceptionally complex, but there are good reasons for the complexity, and it will repay study.) The consciousness of each of you suddenly becomes located in the other's body and becomes hooked into the other's receptors and muscles. At the same time, your body, which is now \enquote{outside you} and which is under the other's control, becomes surrounded by slowly moving beams of tissue-destroying radiation coming from the sides of the room. The radiation is invisible, but the eyes you are seeing through become sensitive to it. At the same time, the other mind loses its knowledge of language. In order to save your body, under the other's blind control, from blundering into a radiation beam, you have to communicate pre-verbally to the other mind by every means from vocal cries to pantomime, and get your-body\slash his-mind out of range of the radiation. When the body is out, you will both be restored to normal. (The first thing to anticipate is the basic shift in viewpoint by which you will be looking at your own body from the other's position. There is no point in tensing your muscles in preparation for the misfortune, because if it occurs, you will be working with a strange set of muscles anyway. The next thing to prepare to do is to spot the radiation beams; and then to yell, gesture, or whatever--anything to get the \enquote{other} to avoid the radiation. Note finally that neither player prepares for the possibility that he will be surrounded by radiation. Each player prepares for the same role in an asymmetrical pas de deux.) 
+\item (This misfortune is exceptionally complex, but there are good reasons for the complexity, and it will repay study.) The consciousness of each of you suddenly becomes located in the other's body and becomes hooked into the other's receptors and muscles. At the same time, your body, which is now \enquote{outside you} and which is under the other's control, becomes surrounded by slowly moving beams of tissue-destroying radiation coming from the sides of the room. The radiation is invisible, but the eyes you are seeing through become sensitive to it. At the same time, the other mind loses its knowledge of language. In order to save your body, under the other's blind control, from blundering into a radiation beam, you have to communicate pre-verbally to the other mind by every means from vocal cries to pantomime, and get your-body\slash his-mind out of range of the radiation. When the body is out, you will both be restored to normal. (The first thing to anticipate is the basic shift in viewpoint by which you will be looking at your own body from the other's position. There is no point in tensing your muscles in preparation for the misfortune, because if it occurs, you will be working with a strange set of muscles anyway. The next thing to prepare to do is to spot the radiation beams; and then to yell, gesture, or whatever--anything to get the \enquote{other} to avoid the radiation. Note finally that neither player prepares for the possibility that he will be surrounded by radiation. Each player prepares for the same role in an asymmetrical pas de deux.) 
 \end{enumerate}
 
 \vskip 0.5em
@@ -246,6 +251,7 @@ The couple must take up positions such that their sensory perceptions are as nea
 \end{itemize}
 
 \section{Intrusions in Duo Games}
+\fancyhead[LE]{\textsc{Mock Risk Games}} \fancyhead[RO]{\textit{Intrusions in Duo Games}}
 
 As before, distractions and modulations can be openly studied by consent of the players. As for bogies, it is possible in duo games for one player to create a bogy without warning, in effect acting as a saboteur. As soon as a game is sabotaged, though, confidence is lost, and each player just watches out for the other's bogies. Here are some sample intrusions. 
 
diff --git a/essays/perception_dissociator.tex b/essays/perception_dissociator.tex
index cf87039..31d7db7 100644
--- a/essays/perception_dissociator.tex
+++ b/essays/perception_dissociator.tex
@@ -15,6 +15,9 @@
 
 \section*{\textsc{Statement of Objectives}}
 
+\fancyhead{} \fancyfoot{} \fancyfoot[LE,RO]{\thepage}
+\fancyhead[LE]{\textsc{Exhibit of a Working Model of a Perception-Dissociator}} \fancyhead[RO]{\textit{Statement of Objectives}}
+
 To construct a model of a machine a thousand years before the machine itself is technologically feasible---to model a technological breakthrough a thousand years before it occurs 
 
 \begin{sysrules}
@@ -54,6 +57,7 @@ spend several hours without a break. There will be absolutely no risk or
 danger to you if you follow instructions. 
 
 \section*{\textsc{To the Director}}
+\fancyhead[LE]{\textsc{Exhibit of a Working Model of a Perception-Dissociator}} \fancyhead[RO]{\textit{To the Director}}
 
 Exhibit requires two adjacent rooms, on moon or other low-gravity 
 location, so that humans can easily jump over each other and fall without 
@@ -103,6 +107,7 @@ and doesn't go back in.
 
 \newcommand\lefttab[1]{{\raggedright\intab{#1}\par}}
 
+\fancyhead[LE]{\textsc{Exhibit of a Working Model of a Perception-Dissociator}} \fancyhead[RO]{\textit{Guidebook}}
 {\righttab{1}
 
 \centering
@@ -345,6 +350,7 @@ and follow the instructions, go immediately to Page 6.
 \clearpage
 \lefttab{6}
 \section{First Phase}
+\fancyhead[LE]{\textsc{Exhibit of a Working Model of a Perception-Dissociator}} \fancyhead[RO]{\textit{Guidebook: First Phase}}
 
 You will now begin the first phase of perception-dissociation by the machine. Throughout this phase, you walk erect. 
 
@@ -584,6 +590,7 @@ you have mastered them, the first phase is over. Turn to Page 10 and \textit{beg
 \lefttab{10}
 
 \section{Second Phase}
+\fancyhead[LE]{\textsc{Exhibit of a Working Model of a Perception-Dissociator}} \fancyhead[RO]{\textit{Guidebook: Second Phase}}
 
 \vfill
 You are now in the second phase of transforming yourself with the 
@@ -727,6 +734,7 @@ vanished, skip to Page 18.
 \lefttab{12}
 
 \section{Third Phase}
+\fancyhead[LE]{\textsc{Exhibit of a Working Model of a Perception-Dissociator}} \fancyhead[RO]{\textit{Guidebook: Third Phase}}
 
 Throughout the third phase, you must squat or move on your hands 
 and knees. That is, you must always keep yourself below the height of your 
@@ -854,8 +862,9 @@ sights unless they are too high. }{ \vfill
 \clearpage
 \lefttab{14}
 
-\section{Fourth phase}
+\section{Fourth Phase}
 
+\fancyhead[LE]{\textsc{Exhibit of a Working Model of a Perception-Dissociator}} \fancyhead[RO]{\textit{Guidebook: Fourth Phase}}
 
 
 You are in the fourth phase of perception-dissociation. Throughout this 
@@ -973,6 +982,7 @@ perception-dissociation.
 
 \vfill
 \section{Final Phase}
+\fancyhead[LE]{\textsc{Exhibit of a Working Model of a Perception-Dissociator}} \fancyhead[RO]{\textit{Guidebook: Final Phase}}
 
 \vfill
 You are now in the final phase of transforming yourself with the