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+\chapter{Anthology of Non-Philosophical Cultural Works (1961)}
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+\section{Introduction}
+
+
+I cannot include here my essays which discuss at length 
+the purposes of lingart, audart, strange culture description,
+concept art, and so forth, tell what they aro good for. However,
+each of the works in this anthology, if considered 
+without rigid preconceptions, is pretty obviously good for 
+only one thing. (For example, the value of "Innperseqs" could 
+hardly be that it has a deep emotional impact, or of "Audart 
+Composition" that it gives the experience of awareness of an 
+aesthetic complex structure.) Thus, the lack of explanation 
+need not prevent the reader from understanding the works.
+In fact, the lack of explanation mill be a good thing if it 
+leads the reader to decide for himself what the value of the 
+works is, rather than depending on their being in a tradition,
+or having acadmic certification, or having a standard label
+(such as 'music' or 'mathematics') to tell  him. These works
+stand by themselves. 
+
+\section{Lingart: Poem 1 (early 1960 / August 1961)}
+{\vskip 2em \centering [Instructions \vskip 2em}
+
+Any lines (a line may be repeated) may be read, in any 
+order. A line must be either entirely normally voiced or 
+entirely whispered. Two lines may be read "at once", one 
+normally voiced, the other whispered. That is, the words of 
+one line are inserted between the words of the other; the only 
+restriction is that the order of the words from each line must
+be preserved. The two lines should be clearly distinguished 
+in reading, each being given its proper phonemic intonation 
+(light fall at end of sentence, and so forth). Example:
+`(w)Mild (n)Oceans (n)prayed (n)sleepily (w)steel (n)in (w)dissolves (n)weary (w)in (w)eats. 
+(n)cheeses.', or, in a bettor notatien, 
+
+\setlength\tabcolsep{0.1em}
+\begin{tabular}{ r c c c c c c c c c c c }
+whispered: & Mild & & & & steel & & dissolves & & in & oats. & \\
+normal: & & Oceans & prayed & sleepily & & in & weary & & cheeses. \\
+\end{tabular}
+
+Within these limitations, the lines should be read in any may 
+which will maximally \uline{bring out their content} (for ex, slowly).] 
+
+\vskip 2em
+
+\noindent
+Bitter carbon was moons. \\
+Vinegar crushes giant monsters. \\
+Moons are viciously decaying cream. \\
+Frozen cream erratically crushes eats. \\
+Carbon crushes giant moons. \\
+Black vinegar sleepily was nights. \\
+Black cheese loudly was oceans. \\
+Empty sound dissolved cheese. \\
+Bitter night is vinegar. \\
+Vinegar quiets giant silences. \\
+Steel is erratically decaying oceans. \\
+Scattered sounds sullenly lay in oceans. \\
+Mild steel dissolves in cats. \\
+Nights sullenly mocked green monsters. \\
+Oceans bled precisely in weary sound. \\
+Mild monsters opened in sound. \\
+Scattered cheese viciously fell in cats. \\
+Silences were erratically decaying carbon. \\
+Carbon was sleepily decaying silence. \\
+Cats bled in screaming cheeses. \\
+Sounds were blue monsters. \\
+Sounds clearly grasped green oceans. \\
+Monsters bled in weary nights. \\
+Cats endlessly burned green steel. \\
+Oceans were blue sounds.\\
+Empty oceans crush steel.\\
+Scattered silences killed analytically in vinegar.\\
+Frozen vinegar dulcetly crushed night. \\
+Cheeses clearly crush green sounds. \\
+Oceans prayed sleepily in weary cheeses.\\
+Frozen nights sleepily mocked vinegar.\\
+Moons open blindly in weary carbon.\\
+Mild cats pray in cream.\\
+Empty cream quiets moons.\\
+Monsters prayed in screaming vinegar.\\
+Bitter moons were carbon,\\
+
+\section{Audart Composition (May 1961)}
+
+To experience this composition, one must be alone in a
+quiet, darkened room. Relax, and accustom oneself to breathing
+slowly so that one's breathing will be as quiet as possible.
+Then put one's fingers in one's ears and close one's eyes.
+Listen to the very low sound (subsonic vibration) and the medium
+high---high noise (the sound of one's nervous system in operation),
+and "look" at the changing pattern of light and dark.
+At first the low sound will be the easiest one to hear, then
+the high one. Try to have maximum awareness of both sounds
+until the low one becomes difficult to hear. Then concentrate
+on the high one, being aware that it is the sound of oneself
+listening to it (and of oneself being aware that it is the 
+sound of oneself listening to it). It is unlikely that the
+visual aspect of this composition will be very interesting,
+but if it is, as sometimes happens if one has looked at a complex
+array of bright lights before starting, the way to appreciate 
+it is to seize on images as soon as they appear and concentrate
+to bring them cut. If done properly this should be a very strange experience, 
+
+\section{Audart: A way of enjoying a Non-Controlled Acoustical Environment (July 1961)}
+Let me distinguish what I will say, for want of better
+terms, are "highly select sounds", such as popular music and 
+indistinct talking (like a radio in an adjacent room), as 
+opposed to "highly unselect sounds", such as the sounds of a
+busy street; and "non-controlled sounds", sounds not produced
+for one to listen to. Then this activity is a way, of enjoying
+an acoustical environment, developed as an alternate to
+listening to highly select music when none is available---a
+way of enjoying a non-controlled environment. In general what
+one does is to listen to the environmental sounds, and by
+selective listening and the addition of "sounds heard in one's
+head", imagined-sounds, "form them into" highly select sounds;
+so that one seems to be hearing, from outside, from the non-mental
+environment, highly select sounds and not just the non-controlled
+sounds. It would seem that to some extent this 
+activity is an exercise in autosuggestion. It can be done more
+easily the more unselect the environmental sounds are. One way 
+of learning to do it is to have highly select music on; then 
+turn it down so that it is almost or just covered by the rest
+of the (non-controlled) environmental sounds, but keep on 
+"hearing" it, filling in with your imagination when you can't
+quite hear it, "hearing" a continuation of what it was when 
+clearly audible, modified whenever necessary to fit in with 
+the environmental sounds; then cut it off entirely but go on 
+"hearing" it in(to) the non-mental environmental sounds. It 
+should be clear that this activity is not just listening to the
+environmental sounds, and is not just "hearing music in one's 
+head". The music is made from the environmental sounds with
+imaginings, and seems to be part of the non-mental environmental
+sounds, come from the non-mental environment. 
+
+\section{Strange Culture Description: Instructions Accompanying Two Identity Structure Standards (April--May 1961)}
+
+These standards are for determining the type of identity 
+(continuity) structure of an exercise awareness-state in a
+conscious organism, and thus determining whether the awareness-state
+can be annihilated. There are two standards, corresponding
+to the two types of identity structure: enclosure\footnote{A rectangular $6\times9$ inch envelope made of tracing paper open at one end. Inside, a rectangular $3x5$ inch sheet of white paper.} and 
+organic--rotation\footnote{A blank white $3x5$ inch card.} (the terms are somewhat arbitrary, do not
+essentially characterize the structures). If the awareness-state
+has enclosure structure, it can be annihilated; if it 
+has organic-rotation structure, it cannot be. 
+
+Use of the standards: An entity has an identity structure
+of one of the two types if its identity structure is observed 
+to be isomorphic to that of the standard for that type for one
+hour, and if it is not deflected before or after that hour. 
+It must be emphasized that determination of identity structure
+type involves use of the actual standard (in non-ruined condition)
+accompanying these instructions through the actual hour
+in which the determination is made. The specification of the
+conditions under which the standard is ruined which will be 
+given does not define the standard, for the purpose of determining
+identity structure type, as anything which is not ruined. 
+
+Care of the standards: With respect to the enclosure 
+structure standard, if the sheet of paper inside the envelope
+is turned over in the envelope, or is allowed to project out
+of the open and of the envelope, the standard is \uline{ruined}. Thus, 
+it is advised that if the shoot is shaken around in the envelope,
+a hand or other surface be held against the open end to prevent
+the sheet from coming out. With respect to the organic-rotation 
+structure standard, from the time the standard comes into one's
+possession, it must be turned over once a day or it is \uline{ruined}.
+The exception is that if one can make it into a strip by
+joining opposite edges of it, without tearing its fibers, that
+is, tearing or creasing it, then it does not have to be turned
+over, and it is not ruined. If the standard is heated until it
+becomes a gas, it is \uline{ruined}. If the standard is transmuted into 
+a gold leaf by nuclear bombardment, it is \uline{ruined}. It is advised
+that persons who do not know all this or are careless or destructive
+not be allowed to handle the standards.
+
+\section{Concept Art: Work Such That No One Knows What's Going On (July 1961)}
+
+[Ono just has to guess whether this work exists and if it does what it is like.]
+
+\section{Concept Art: Innperseqs (May--July 1961)}
+
+A "halpoint" 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 glasses fogged by having been breathed on, for as long as the point is in the halo. 
+
+An "inittpoint" iff a halpoint in the initial vague outer ring of its halo.
+
+An "inn'perseq" iff a sequence of sequences of halpoints such that all the halpoints are on one (initial) radius of a halo; the members of the first sequence are initpoints; for each of the other sequences, the first member (a "consequent") is got from the non-first members of the preceding sequence (the "anteeedents") by being the inner endpoint of the radial seg-ment in the vague outer ring whom they are on the segment, and the dater members (if any) are initpoints or first mem-bers of preceding sequences; all first members of sequences other than the last appear as non-first members, and halpoints appear only once as non-first members; and the last sequence has one member. 
+
+Indeterminacy A rtotally determinate innperseq' iff an innperseq in which one is aware of (specifies) all halpoints. 
+
+An rantecedentally indeterminate innperseql iff an innperseq in which one is aware of (specifies) only each consequent and the radial segment beyond it. 
+
+A rhalpointally indeterminate innperseq-liff an innporseq in Mich one is aware of (specifies) only the radial segment in the vague outer ring, and its inner endpoint, as it progresses inward. 
+
+