expand to whole book, more fixes for whatever i was previously trying

5 files changed, 46 insertions, 123 deletions

diff --git a/blueprint.tex b/blueprint.tex
index 4525667..411b881 100644
--- a/blueprint.tex
+++ b/blueprint.tex
@@ -65,6 +65,9 @@
 \newcommand\cubedown{\includegraphics[width=1em]{img/cubedown}}
 \newcommand\sysname[1]{\enquote{\textsc{#1}}}
 
+\newcommand\Q[1]{\begin{quotation}#1\end{quotation}}
+\newcommand\Qs[1]{{\raggedleft \itshape #1 \par}}
+
 \newcommand\photopage[4]{
   \begin{figure}
     { \centering\includegraphics[width=4.5in]{#1}\par } 
@@ -83,6 +86,9 @@
 %\fancyfoot[LO,CE]{\thechapter}
 %\fancyfoot[CO,RE]{\thesection}
 
+\titleformat{\chapter}[block]{\scshape\Large}{\thechapter \hskip 0.25cm \textbullet}{0.25cm}{\filleft}[\titlerule]
+\titlespacing*{\chapter}{1in}{1cm}{2cm}[1cm]
+
 \frontmatter
 \graphicspath{{img/}}
 
@@ -90,13 +96,11 @@
 
 \renewcommand*{\thesection}{\Alph{section}}
 
-
 \setlist{itemsep=3pt}
 \setlist{parsep=0pt}
 \setlist{topsep=3pt}
 \setlist{leftmargin=1cm}
 
-\newcommand{\emt}[1]{\textit{#1}}
 \setlist{nosep}
 
 % Title
@@ -109,7 +113,13 @@
 	\vfill
 	\includegraphics[scale=1]{img/blueprint_author}
 	\vfill
+}
 
+\clearpage
+
+{\ttfamily
+
+colophon goes here
 }
 
 \clearpage
@@ -154,8 +164,6 @@
 % \input{essays/post_formalism_memories.tex}
 \input{essays/studies_in_constructed_memories.tex}
 
-\end{document}
-
 \part{The New Modality}
 %\tocline
 \input{essays/energy_cube1966.tex}
diff --git a/essays/mock_risk_games.tex b/essays/mock_risk_games.tex
index d08e387..70c45bf 100644
--- a/essays/mock_risk_games.tex
+++ b/essays/mock_risk_games.tex
@@ -3,9 +3,6 @@
 \newcommand\lilskip{\vskip 0.3em}
 
 \chapter{Mock Risk Games}
-\pagestyle{salnm}
-\setheadrule{0.4pt}
-
 
 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 
@@ -176,8 +173,6 @@ 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}
-\pagestyle{salpc}
-\setheadrule{0.4pt}
 
 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.
@@ -217,96 +212,42 @@ appropriate.
 
 \section{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.
+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.
 
 \vskip 0.5em
 \begin{itemize}[label={}. wide, nosep, itemsep=0.5em]
 	\item[\textbf{AA.}] Face each other at a distance and walk toward each other.
 		\lilskip
 		\begin{enumerate}[nosep,itemsep=0.5em]
-	\item The other's head flies off and hurtles at you like a cannonball. It can
-		swerve up or down, so that you will be hit unless you jump aside. The time
-		you have to jump is about the same no matter what your distance from the
-		other is, because the head accelerates rapidly.
-	\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} / \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 
-		pantomine, and get your-body/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 preparatiton 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 The other's head flies off and hurtles at you like a cannonball. It can swerve up or down, so that you will be hit unless you jump aside. The time you have to jump is about the same no matter what your distance from the other is, because the head accelerates rapidly.
+
+	\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.) 
 \end{enumerate}
 
 \vskip 0.5em
 
-\emph{Asymmetry:} The two of you play a given duo game, but each prepares 
-to evade a different misfortune. 
+\emph{Asymmetry:} The two of you play a given duo game, but each prepares to evade a different misfortune. 
 
 \vskip 0.5em
 
-\item[\textbf{AB.}] Stay awake with eyes closed for an agreed upon time between one 
-and fifteen minutes. Use a timer with an alarm. 
+\item[\textbf{AB.}] Stay awake with eyes closed for an agreed upon time between one and fifteen minutes. Use a timer with an alarm. 
+
 \vskip 0.5em
+
 \begin{enumerate}[nosep,itemsep=0.5em]
-\item Each suddenly has the other's entire present consciousness in addition to 
-his own, from perceptions to memories, ideologies, ambitions, and 
-everything else---threatening both with psychological shock. 
+\item Each suddenly has the other's entire present consciousness in addition to his own, from perceptions to memories, ideologies, ambitions, and everything else---threatening both with psychological shock. 
 \lilskip
-The couple must take up positions such that their sensory perceptions 
-are as nearly identical as possible. Beforehand, each must discuss with the 
-other the aspects of the other's attitude to the world which each must fears 
-having impused on his consciousness. During the game, each must think 
-about these aspects and try to prepare for them. 
-
-\item Each suddenly relives the other's most intense past feelings of depression 
-and suicidal impulses. In other words, if five years ago the other attempted 
-suicide because he failed out of college, you suddenly have the consciousness 
-that \enquote{you} have just failed out of college, are totally worthless, and should 
-destroy yourself. Presumably the other has since learned to live with his past 
-disasters, but you do not have the defenses he has built up. You are 
-overwhelmed with a despair which the other felt in the past, and which is 
-incongruous with the rest of your consciousness. In summary, both of you 
-risk shock and suicidal impulses. Beforehand, of course, each must tell the 
-other of his worst past suicidal or depressed episode; and discuss anything 
-else that may minimize the risk of shock. 
+The couple must take up positions such that their sensory perceptions are as nearly identical as possible. Beforehand, each must discuss with the other the aspects of the other's attitude to the world which each must fears having impused on his consciousness. During the game, each must think about these aspects and try to prepare for them. 
+
+\item Each suddenly relives the other's most intense past feelings of depression and suicidal impulses. In other words, if five years ago the other attempted suicide because he failed out of college, you suddenly have the consciousness that \enquote{you} have just failed out of college, are totally worthless, and should destroy yourself. Presumably the other has since learned to live with his past disasters, but you do not have the defenses he has built up. You are overwhelmed with a despair which the other felt in the past, and which is incongruous with the rest of your consciousness. In summary, both of you risk shock and suicidal impulses. Beforehand, of course, each must tell the other of his worst past suicidal or depressed episode; and discuss anything else that may minimize the risk of shock. 
 \end{enumerate}
 \end{itemize}
 
 \section{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. 
+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. 
 
 \newcommand\rP[2]{\parbox{#1}{\raggedleft #2}}
 \newcommand\cP[2]{\parbox{#1}{\centering #2}}
diff --git a/essays/perception_dissociator.tex b/essays/perception_dissociator.tex
index af083d5..cf87039 100644
--- a/essays/perception_dissociator.tex
+++ b/essays/perception_dissociator.tex
@@ -15,29 +15,20 @@
 
 \section*{\textsc{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 
+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}
-(Analogies: constructing a model of an atomic power plant in ancient 
-Rome; chess-playing-machine hoaxes of 19th-century Europe as 
-models of computers; Soviet Cosmos Hall at Expo 67 as model 
-of anti-gravity machine) 
+(Analogies: constructing a model of an atomic power plant in ancient Rome; chess-playing-machine hoaxes of 19th-century Europe as models of computers; Soviet Cosmos Hall at Expo 67 as model of anti-gravity machine) 
 
-To construct the model almost entirely from the visitors coming to see it, so 
-that each visitor regards the others as the model! 
+To construct the model almost entirely from the visitors coming to see it, so that each visitor regards the others as the model! 
 
-What the hypothetical perception-dissociator will do that is not 
-possible now: 
+What the hypothetical perception-dissociator will do that is not possible now: 
 \end{sysrules}
 
 \begin{itemize}
-\item Physically alter the world (relative to you): sound disappears; sights and 
-touches are dissociated; other people unconsciously signal you. 
+\item Physically alter the world (relative to you): sound disappears; sights and touches are dissociated; other people unconsciously signal you. 
 
-\item Physically, "psychoelectronically" induce conditioned reflexes in your 
-nervous system. Physically break ddwn your sense of time. 
+\item Physically, "psychoelectronically" induce conditioned reflexes in your nervous system. Physically break down your sense of time. 
 \end{itemize}
 
 { \centering
@@ -52,12 +43,8 @@ Sponsored by (legitimate sponsor) Open continuously from (date) \\
 to (date) At (lunar colony or space station) \par
 	}
 
-"The perception-dissociator is a machine which is the product of a 
-technology far superior to that of humans. With it, a conscious organism can 
-drastically transform its psychophysical relation to objects and to other 
-conscious organisms\ldots The exhibit spotlights the technical interest of the 
-perception-dissociator, giving the visitor a working model of the machine 
-which he can use to 'transform' himself." ---from the Guidebook 
+\Q{The perception-dissociator is a machine which is the product of a technology far superior to that of humans. With it, a conscious organism can drastically transform its psychophysical relation to objects and to other conscious organisms\ldots The exhibit spotlights the technical interest of the perception-dissociator, giving the visitor a working model of the machine which he can use to \enquote{transform} himself.} 
+\Qs{from the Guidebook}
 
 It isn't possible for this exhibit to be open or public, because of the nature of 
 the model. You have been invited in the belief that you will be a cooperative 
@@ -358,19 +345,13 @@ and follow the instructions, go immediately to Page 6.
 \clearpage
 \lefttab{6}
 \section{First Phase}
-\pagestyle{salpc}
-\setheadrule{0.4pt}
 
-You will now begin the first phase of perception-dissociation by the 
-machine. Throughout this phase, you walk erect. 
+You will now begin the first phase of perception-dissociation by the machine. Throughout this phase, you walk erect. 
 
-Instructions for operating the machine and for protecting yourself from 
-it will be given both in English and in an abbreviated symbolism. It is 
-important to master the symbolism, because later instructions can't be 
-expressed without it. 
+Instructions for operating the machine and for protecting yourself from it will be given both in English and in an abbreviated symbolism. It is important to master the symbolism, because later instructions can't be expressed without it. 
 
 \begin{itemize}
-\item u means you 
+\item $u$ means you 
 
 \item $s$, $s_1$, $s_2$, $s_3$ mean different sights from the machine 
 
@@ -382,27 +363,21 @@ expressed without it.
 
 \item $\blows{a}{b}$ means $a$ blows on $b$'s hand 
 
-\item $\pushes{a}{b}$ means $a$ pushes $b$, typically from behind 
-($a$ holds Guidebook under arm or elsewhere) 
+\item $\pushes{a}{b}$ means $a$ pushes $b$, typically from behind ($a$ holds Guidebook under arm or elsewhere) 
 
 \item $\jumpsover{a}{b}$ means $a$ jumps over $b$, crossing completely above $b$ (weak gravity should make this easy) 
 
-\item $\shadows{a}{b}$ means $a$ rapidly waves both hands in front of and near $b$'s eyes so that 
-	moving shadows are cast on $b$'s eyes ($a$ \enquote{\term{shadows}} $b$) 
+\item $\shadows{a}{b}$ means $a$ rapidly waves both hands in front of and near $b$'s eyes so that moving shadows are cast on $b$'s eyes ($a$ \enquote{\term{shadows}} $b$) 
 
-\item $\tackles{a}{b}$ means $a$ pulls $b$'s ankles back and up and immediately lets them go, so 
-	that $b$ falls forward ($a$ \enquote{\term{tackles}} $b$) 
+\item $\tackles{a}{b}$ means $a$ pulls $b$'s ankles back and up and immediately lets them go, so that $b$ falls forward ($a$ \enquote{\term{tackles}} $b$) 
 
 \item $\stepson{a}{b}$ means $a$ jumps and falls on $b$, or $a$ steps on $b$ 
 
 \item $\flee{a}$ means $a$ rapidly moves aside 
 
-\item $\probly{}$ parentheses around the symbol for an action mean the action will 
-probably happen 
+\item $\probly{}$ parentheses around the symbol for an action mean the action will probably happen 
 
-\item A line of action symbols constitutes an instruction. The order of symbols 
-indicates the order of events. If one symbol is right above another, the 
-actions are simultaneous. 
+\item A line of action symbols constitutes an instruction. The order of symbols indicates the order of events. If one symbol is right above another, the actions are simultaneous. 
 \end{itemize}
 
 \vfill
diff --git a/extra/anthology_non_philosophical.tex b/extra/anthology_non_philosophical.tex
index f9a7d26..692f338 100644
--- a/extra/anthology_non_philosophical.tex
+++ b/extra/anthology_non_philosophical.tex
@@ -1,6 +1,5 @@
 \chapter[Anthology of Non-Philosophical Cultural Works (1961)][Anthology of Non-Philosophical Cultural Works]{Anthology of Non-Philosophical Cultural Works (1961)}
-\pagestyle{salpc}
-\setheadrule{0.4pt}
+
 \section{Introduction}
 
 I cannot include here my essays which discuss at length 
diff --git a/extra/radicalism_of_unbelief.tex b/extra/radicalism_of_unbelief.tex
index e89f99b..4bd8ce5 100644
--- a/extra/radicalism_of_unbelief.tex
+++ b/extra/radicalism_of_unbelief.tex
@@ -7,7 +7,7 @@ enlightenment and deliverance can come from anything as straightforward as an
 individualistic search for happiness, or a mental hygiene of happiness. To me, the 
 life I have now, which unfolds through ongoing interaction with other people---and 
 within this definite culture---is the arena that matters. In other words, I am located 
-in a \emt{shared} basis of life. To me this circumstance is of outstanding importance. 
+in a \emph{shared} basis of life. To me this circumstance is of outstanding importance. 
 While the medium of thought, the capabilities, the skills which are possible for me 
 are interior to me, at the same time they engage me with other people in 
 consciousness---and I must regard other people as their source in most cases. (In other 
@@ -40,7 +40,7 @@ of realized choices; and I must \enquote{grant other people's right to exist.}
 
 \visbreak
 
-\emt{What I seek is a transformation of the ostensible world and of the shared basis of life.}
+\emph{What I seek is a transformation of the ostensible world and of the shared basis of life.}
 This is to be accomplished on the basis of two enterprises which will eventually be 
 fused: a theory of palpable interrelations of the entirety of immediate constituents 
 of \enquote{my world} called \enquote{the personhood theory}; and a new instrumental modality