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diff --git a/essays/perception_dissociator.tex b/essays/perception_dissociator.tex new file mode 100644 index 0000000..69e1b59 --- /dev/null +++ b/essays/perception_dissociator.tex @@ -0,0 +1,808 @@ +\chapter{Exhibit of a Working Model of a Perception-Dissociator} + +\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 + +\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) + +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: +\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, "psychoelectronically" induce conditioned reflexes in your +nervous system. Physically break ddwn your sense of time. +\end{itemize} + +{ \centering + \large + [\textsc{Invitation}] \par} + +{ \centering +Because of your interest in technology and science, you are invited to visit \\ + \textsc{Exhibit of a Working Model of a} \\ + \textsc{Perception-Dissociator} \\ +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 + +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 +visitor. Come alone. Don't discuss the exhibit at all before you see it; and +don't discuss it afterwards except with other ex-visitors. Come prepared to +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}} + +Exhibit requires two adjacent rooms, on moon or other low-gravity +location, so that humans can easily jump over each other and fall without +being hurt. First room, the anteroom, has "normal" entrance door leading in +from "normal" human world. Is filled with chairs or school desks. At far +corner from normal door is two-step lock, built in anteroom, connecting +rooms. Normai door on hinges leads from anteroom into first step of lock. +Sliding panel door leads into second step; and smooth curtain with slit in +middle leads into the exhibit hali. Another sliding door leads from lock's +first step directly back out to normal human world, bypassing anteroom. +Shelf required in first lock to check watches and shoes. + +Exhibit hall large and empty with very high ceiling (Fuller dome?). I +Room must be strongly lighted, so that objects in front of closed eyes will +cast highly visible shadows on eyelids. Room's inner surfaces must be +sound-absorbing, and moderate noise must be played into room to mask +accidental sounds; thus humans will cease to notice sound. Floor must be of +hard rubber or other material that will not splinter, and will not be too hard +to fall and crawl on. + +Exhibit open continuously for days. Invite people who will seriously +try to play along---preferably engineers; and invite many of them, because +is better to have many in exhibit. Sample invitation enclosed. Attendants +working in shifts must be at two posts throughout. Try to keep surprising +features of exhibit secret from those who have not been through it. + +Procedure. Visitor arrives and enters anteroom. Entrance attendant +gives him a Guidebook and sends him to sit down and start reading. Then +visitor goes to lock. Lock attendant must try hard to see that no more than +one visitor is in lock at a time. If lock is empty of visitors, attendant lets +entering visitor into first step, checks his watch and shoes, and sends him +alone into second step and on to exhibit room. When visitor comes out of +exhibit hall for any reason, he must be gotten into first step, and then +attendant sends him out the exit. When a visitor comes out, he just goes out +and doesn't go back in. + +\img{dissociatordiag} + + +\clearpage + +\textsc{Exhibit of a working model of a perception-dissociator (conceived by Henry Flynt)} + + +\img{guidebook} + + +\textsc{Read this guidebook as directed---straight through or as otherwise directed. Don't leaf around.} + + +\textsc{Read pages 2--3 before you go in to see the exhibit.} + +\clearpage + +Introduction. 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. When the organism has transformed itself, +sound disappears, time is immeasurable; and the relation between seeing and +touching becomes a random one. That is, the organism never knows whether +it will be able to touch or feel what it sees, and never knows whether it will +be able to see what it touches or what touches it. The world ceases to be a +collection of objects (relative to the physically altered organism). Further, +the machine induces a pattern of communication in the organism's nervous +system, an involuntary pattern of responses to certain events, to help the +organism cope with the invisible tactile phenomena. A dimension is added of +involuntarily relating to other organisms as unconscious signalling devices. +The transformation induced by the machine is permanent unless the +organism subsequently uses the machine to undo it. + + +The perception-dissociator is not conscious or alive in any human sense. +The components of the machine that the user is aware of are: +\begin{enumerate} + \item Optical phenomena that are seen---"sights." + \item Solid or massive phenomena that are felt cutaneously---"touches." +\end{enumerate} +If the user tries to touch a sight, he may not be +able to feel anything there. If he looks for a component that touches him, he +may not be able to see it. + + +(Keep reading) + +\clearpage + +In other words, from the beginning the machine has properties that the +entire world comes to have to the transformed organism. + +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. Nothing is said about the purpose +of the perception-dissociator in the society that can make one. The model is +sophisticated enough that it can run independently of the visitor's will, and +can affect him. In fact, the visitor may be hurt if he doesn't follow the +instructions for using the machine. + + +When you have absorbed the above, go to the entrance and be admitted +to the exhibit. You must check your shoes, and your watch (if you have +one), with the attendant. As you enter, turn this page and begin reading Page +4. + +\clearpage + +\textsc{Do not talk or make any other uncalled-for noise.} + + +Be prepared for the touch of pulling your feet out from under you +from behind. Don't resist; just fall forward, break your fali with your arms +(and retrieve this Guidebook). The floor is not hard and the gravity is weak, +so the fall should leave you absolutely unhurt. + +\plainbreak{2} + +\textsc{Avoid all touches (except floor and yourself) unless directed otherwise.} +(You have been directed not to resist having your +feet pulled out from under you.) +\textsc{In effect, if you bump into a solid object or step on one, draw back. Remember +that you avoid touches by your tactile senses alone.} +Whether your eyes are open or closed makes no difference. It is not necessary to avoid +sights unless you touch something. + +\plainbreak{2} + +There may be the touch of being pushed forward at your shoulder +blades. Don't resist; just move forward. + +\plainbreak{2} + +As for the sights in this model, it happens that they will be humanoid. +All the human appearances other than you in the exhibit hall are sights from +the machine. This is just the way the model is; don't give it a thought. Sights +may appear or disappear (for example, at the curtain) while you are looking. + +\plainbreak{2} + +I am referring to the components of the model with the names of the +components of the perception-dissociator. + +\plainbreak{2} + +As soon as you understand the above and are prepared to remember +and follow the instructions, go immediately to Page 6. + +\clearpage + +\img{dissoceqns} + +\clearpage + +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. + +\begin{itemize} +\item u means you + +\item $s$, $s_1$, $s_2$, $s_3$ mean different sights from the machine + +\item $t$, $t_1$, $t_2$, $t_3$ mean different touches from the machine + +\item $a\wedge$ means a's eyes are open or a opens its eyes + +\item $a\vee$ means a's eyes are shut or a shuts its eyes + +\item $a\equiv b$ means a blows on b's hand + +\item $a\sqsupset b$ means a pushes b, typically from behind +(a holds Guidebook under arm or elsewhere) + +\item $a\overbracket{b}$ means a jumps over b, crossing completely above b (weak gravity +should make this easy) + +\item $a^\infty b$ 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 "shadows" b) + +\item $a\overbrace{b}$ means a pulls b's ankles back and up and immediately lets them go, so +that b falls forward (a "tackles" b) + +\item $a\longdivision{b}$ means a jumps and falls on b, or a steps on b + +\item $a\lrcorner$ means a rapidly moves aside + +\item $()$ 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. +\end{itemize} + +\textsc{You may always turn back to these explanations if you forget them.} + +(Keep reading) + +\clearpage + +Instructions 1--3 apply \textsc{when your eyes are open.} + +\begin{enumerate} +\item If you see a sight close its eyes, a heavy touch from the machine +may be falling toward you. You must instantly jump aside. + +\begin{tabular}{ c c } + \begin{tabular}{ c c } + $s_1\wedge$ & $s_1\vee$ \\ + $u\wedge$ & $(t\longdivision{u})$ \\ + \end{tabular} & + $u\lrcorner$ \\ +\end{tabular} + +\textsc{You must follow this and succeeding instructions as long as you stay in the exhibit. Stay with each instruction until you have it thoroughly in memory; and check out the symbolic version so you learn to read the symbols.} + +\item If a sight in front of you jumps over you, a touch may be about to +tackle you. You must instantly jump to one side. + +\begin{tabular}{ r c l } + $u\wedge$ & \begin{tabular}{ c } + $s\overbracket{u}$ \\ + $(t\overbrace{u})$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item If a sight waves its hands in front of your open eyes, a touch may +be about to shove from behind. Jump to one side. + +\begin{tabular}{ r c l } + $u\wedge$ & \begin{tabular}{ c } + $s^\infty u$\\ + $(t\sqsupset u)$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\textsc{If there are any sights, try standing around and following these instructions for a short while.} + +\item If you close your eyes, you must keep them closed until a touch +tackles you, a touch shoves you, or you can't keep your mind on the exhibit +(which you should also consider to be an effect of the machine). Then you +immediately open your eyes. + +\begin{tabular}{ r c l } + $u\vee$ & \begin{tabular}{ c } + $t\overbrace{u}$ \\ \midrule + $t\sqsupset u$ \\ \midrule + $u$ inattentive \\ + \end{tabular} & $u\wedge$ \\ +\end{tabular} + +\emph{(A horizontal line between action symbols means \emph{or.} With it, instructions can be combined)} + +\textsc{The next three instructions tell you what to do when your eyes are closed. Learn them well.} + +\item If you feel a breath blowing on one of your hands, a touch may be +falling on you. You must instantly jump to the side away from the breath. + +\begin{tabular}{ r c l } + $u\vee$ & \begin{tabular}{ c } + $t_1\equiv u$ \\ + $t_2\longdivision{u}$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +(Turn page and continue) + +\clearpage + +\item If your closed eyes are shadowed, a touch may be about to tackle +you. You must instantly jump aside. + +\begin{tabular}{ r c l } + $u\vee$ & \begin{tabular}{ c } + $s^\infty u$ \\ + ($t\overbrace{u}$) \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item If you sense a massive touch going above your head, another touch +may be about to shove you from behind. Jump aside. + +\begin{tabular}{ r c l } + $u\vee$ & \begin{tabular}{ c } + $t_1\overbracket{u}$ \\ + ($t_2\sqsupset u$) \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item If you have any time left over from following other instructions, +close your eyes and go around with your hands in front of you, shoving +touches whenever you feel them. + +\begin{tabular}{ c c } + $u\vee$ & $u\sqsupset t$ \\ +\end{tabular} + +\textsc{Now try instr. 8, remembering and following the other instructions about closed eyes (instr. 4--7). +When you have to open your eyes again, as per instr. 4, check anything you forgot: and then go to the +succeeding instructions. Now---close your eyes.} + +\textsc{The next three instructions apply when your eyes are open.} + +\item If you see a sight falling toward or about to step on another sight +whose eyes are open, run until you face the sight on the ground and close +your eyes. + +\textsc{Before you follow this instruction you must have mastered the preceeding instructions about closed eyes.} + +$$ +u\wedge\ s_2\wedge(s_1\longdivision{s_2}) u\vee +$$ + +(Keep going) + +\clearpage + +\item If you see a sight about to tackle another whose eyes are open, run +until you face the sight about to be tackled and jump over both sights. If the +sight about to be tackled has closed eyes, you must immediately shadow +them. + +\begin{tabular}{ r c } + $u\wedge$ & \begin{tabular}{ c c c } + $s_2\wedge$ & $s_1\overbrace{s_2}$ & $u\overbracket{s_1s_2}$ \\ \midrule + $s_2\vee$ & $(s_1\overbrace{s_2})$ & $u^\infty s_2$ + \end{tabular} \\ +\end{tabular} + +\item If you see a sight about to push another with open eyes from +behind, you must shadow the sight about to be pushed. But if the sight +about to be pushed has closed eyes, you must immediately jump over both +sights. + +\begin{tabular}{ r c } + $u\wedge$ & \begin{tabular}{ c c c } + $s_2\wedge$ & $(s_1\sqsupset s_2)$ & $u^\infty s_2$ \\ \midrule + $s_2\vee$ & $(s_1\sqsupset s_2)$ & $u\overbracket{s_1s_2}$ \\ + \end{tabular} \\ +\end{tabular} +\end{enumerate} + +You must now put all the instructions into practice until you have +learned them thoroughly by doing as they say. In other words, carry out +Instr. 8, and the other instructions as they apply. + +If you can't practice the instructions because you still have not seen a +sight or felt a touch, skip directly to Page 18. + +Learning the instructions in practice should take a good while. When +you have mastered them, the first phase is over. Turn to Page 10 and begin +the second phase. + +\clearpage + +{\centering \textit{Page 10} \par} + +\subsection*{Second Phase} + +You are now in the second phase of transforming yourself with the +perception-dissociator. Throughout this phase, you must stoop or crouch +somewhat. That is, you must keep yourself below the height of your neck +when you stand straight---except when you jump over a sight. The symbol is +$u\sfrac{3}{4}$. $u\sfrac{3}{4}\wedge$ means that you crouch and close your eyes. Now crouch. + +The numbered instructions for this phase are so similar to those in the +preceeding phase that they will be given in symbols only. Changes are noted +parenthetically. You may turn back if you forget symbols. + +\begin{enumerate} +\item \begin{tabular}{ c l } + \begin{tabular}{ c c } + $s_1\wedge$ & $s_1\vee$ \\ + $u\sfrac{3}{4}\wedge$ & $(t\longdivision{u})$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item \begin{tabular}{ c c c } + $u\sfrac{3}{4}\wedge$ & \begin{tabular}{ c } + $s\overbracket{u}$ \\ + $t\overbrace{u}$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item \begin{tabular}{ c c c } + $u\sfrac{3}{4}\wedge$ & \begin{tabular}{ c } + $t\equiv u$ \\ + $t_2\sqsupset u$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\emph{(change component blows on you instead of shadowing you)} + +\item \begin{tabular}{ c c c } + $u\sfrac{3}{4}\vee$ & \begin{tabular}{ c } + $t\overbrace{u}$ \\ \midrule + $t\sqsupset u$ \\ \midrule + $u$ inattentive \\ + \end{tabular} & $u\wedge$ \\ +\end{tabular} + +\item \begin{tabular}{ c c c } + $u\sfrac{3}{4}\vee$ & \begin{tabular}{ c } + $t_1\equiv u$ \\ + $(t_2\longdivision{u})$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item \begin{tabular}{ c c c } + $u\sfrac{3}{4}\vee$ & \begin{tabular}{ c } + $s^\infty u$ \\ + $(t\overbrace{u})$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item \begin{tabular}{ c c c } + $u\sfrac{3}{4}v$ & \begin{tabular}{ c } + $t_1\overbracket{u}$ \\ + $(t_2\sqsupset u)$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item \begin{tabular}{ c c } + $u\sfrac{3}{4}\vee$ & $u\sqsupset t$ \\ +\end{tabular} + +The big change comes next. + +\emph{(Keep going)} + +\clearpage + +\item \begin{tabular}{ c c } + $u\sfrac{3}{4}\wedge s_2\wedge (s_1\longdivision{s_2}) u\vee$ & and also \\ + $u\sfrac{3}{4}\wedge s_2\vee (s_1\longdivision{s_2})$ & $u\equiv s_2$ \\ +\end{tabular} + +That is, if you see a sight falling or stepping on another sight with closed +eyes, you must immediately blow on the sight on the ground. This is an +addition. + +\item \begin{tabular}{ r c } + $u\sfrac{3}{4}\wedge$ & \begin{tabular}{ c } + $s_2\wedge (s_1\overbrace{s_2}) u\overbracket{s_1s_2}$ \\ \midrule + $s_2\vee (s_1\overbrace{s_2}) u^\infty s_2$ \\ + \end{tabular} +\end{tabular} + +\item \begin{tabular}{ c c } + $u\sfrac{3}{4}\wedge$ & \begin{tabular}{ c } + $s_2\wedge (s_1\sqsupset s_2) u\equiv s_2$ \\ \midrule + $s_2\vee (s_1\sqsupset s_2) u\overbracket{s_1s_2}$ \\ + \end{tabular} +\end{tabular} +\emph{(change: you blow on $s_2$)} + +So far there have been only three changes in the instructions. Memorize +them. Then go on to Instr. 12, which is new, and carry it out along with the +other eleven instructions. + +\textsc{As soon as you have put any changed instruction (3, 9, or 11) into practice, +the second phase is over. Turn to page 12 and the third phase.} + +If you can't practice the instructions because all the components have +vanished, skip to Page 18. + +\item Adding to Instruction 8, if you have time left over from following +other instructions, you may also keep your eyes open and jump over, blow +on, or shadow sights. + +\begin{tabular}{ r c } + $u\sfrac{3}{4}\wedge$ & \begin{tabular}{ c } + $u\overbracket{s}$ \\ \midrule + $u^\infty s$ \\ \midrule + $u\equiv s$ \\ + \end{tabular} \\ +\end{tabular} +\end{enumerate} + +\clearpage + +\emph{(page 12)} + +\subsection*{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 +waist when you stand straight---unless you are able to jump over a sight from +your low position. The symbol is $u\sfrac{1}{2}$. Now get down. + +Instr. 1--7 from the last phase apply here without change. They are thus +stated in the most abbreviated form. + +1--3. +(i will put these in when im confident in my interpretation of the syntax) + +4--7. +(i will put these in when im confident in my interpretation of the syntax) + +The biggest change comes next. + +8. If you have any time left over, close your eyes and go around with +your hands in front of you. If you encounter touches standing higher than +you, tackle them. If you encounter touches as near the ground as you, shove +them. You must be sensitive and judge heights with eyes closed. + +\begin{tabular}{ r c } + $u\sfrac{1}{2}\vee$ & \begin{tabular}{ c } + $t_\greater u\overbrace{t}$ \\ \midrule + $t_\less u\sqsupset t$ \\ + \end{tabular} \\ +\end{tabular} + +\emph{($t\greater$ means "if t stands high relative to you" \\ +$t\less$ means "if t is near ground relative to you")} + +9. No change. + +\begin{tabular}{ r c } + $u\sfrac{1}{2}$ & \begin{tabular}{ c } + $s_2\wedge (s_1\longdivision{s_2}) u\vee$ \\ \midrule + $s_2\vee (s_1\longdivision{s_2}) u\equiv s_2$ \\ + \end{tabular} +\end{tabular} + +10. The previous Instr. 10 applies if $s_2$ is near the ground, that is, it +applies unless $s_2$ is too high for you to jump or shadow it. + +\begin{tabular}{ r c } + $u\sfrac{1}{2}$ & \begin{tabular}{ c } + $s_2\wedge\less\ (s_1\overbrace{s_2}) u\overbracket{s_1 s_2}$ \\ \midrule + $s_2\vee\less\ (s_1\overbrace{s_2}) u^\infty s_2$ \\ + \end{tabular} +\end{tabular} + +(Keep going) + +\clearpage + +11. $u\sfrac{1}{2}\wedge\ s_2\wedge\ (s_1\sqsupset s_2)\ u\equiv s_2$ + +The second half of the previous Instr. 11 is dropped. + +Except for the instruction to tackle touches, the changes are simply +limitations to make the instructions feasible for $u\sfrac{1}{2}$. They should be easy +to remember. + +You will next go on to Instr. 12, and carry it out along with the other +instructions. As soon as you encounter an actual situation where you cannot +act because $u\sfrac{1}{2}$, the third phase will be over. +\textsc{At that point you must turn to page 14 and the fourth phase.} + +If you can't carry out the instructions because all the components have +vanished, the third phase is over. Turn to Page 14 and the fourth phase. + +12. Adding to Instr. 8, if you have time left over, you may also keep +your eyes open and blow on sights. You may also shadow or jump over +sights unless they are too high. + +\begin{tabular}{ r c } + $u\sfrac{1}{2}\wedge$ & \begin{tabular}{ c } + $u\equiv s$ \\ \midrule + \begin{tabular}{ r c } + $s\less$ & \begin{tabular}{ c } + $u^\infty s$ \\ \midrule + $u\overbracket{s}$ \\ + \end{tabular}\\ + \end{tabular} \\ + \end{tabular} \\ +\end{tabular} + +\subsection*{Fourth phase} + +You are in the fourth phase of perception-dissociation. Throughout this +phase, you must crawl on your stomach (keep below knee height). The +symbol is $u\sfrac{1}{4}$. Now get on the floor. + +You can no longer be tackled, nor can you jump. Thus, the numbered +instructions are greatly limited, and they will be restated fully. + +\textsc{The first two instructions apply when your eyes are open.} + +\begin{enumerate} +\item If you see a sight close its eyes, a touch may be falling or stepping +on you, and you must immediately scramble aside. + +\begin{tabular}{ c l } + \begin{tabular}{ c c } + $s_1\wedge$ & $s_1\vee$ \\ + $u\sfrac{1}{4}\wedge$ & $(t\longdivision{u})$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item \begin{tabular}{ r c l } + $u\sfrac{1}{4}\wedge$ & \begin{tabular}{ c } + $t_1\equiv u$ \\ + $(t_2\sqsupset u)$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\textsc{The next three instructions tell you what to do when your eyes are closed.} + +\item When to reopen your eyes. + +\begin{tabular}{ r c l } + $u\sfrac{1}{4}\vee$ & \begin{tabular}{ c } + $t\sqsupset u$ \\ \midrule + $u$ inattentive \\ + \end{tabular} & $u\wedge$ +\end{tabular} + +\item If your closed eyes are shadowed, a touch may be falling or +stepping on you. Scramble aside. + +\begin{tabular}{ r c l } + $u\frac{1}{4}\vee$ & \begin{tabular}{ c } + $s^\infty u$ \\ + $(t\longdivision{u}$ + \end{tabular} & $u\lrcorner$ +\end{tabular} + +\item \begin{tabular}{ c c c } + $u\frac{1}{4}\vee$ & \begin{tabular}{ c } + $t_1\overbracket{u}$ \\ + $(t_2\sqsupset u)$ \\ + \end{tabular} & $u\lrcorner$ \\ +\end{tabular} + +\item \begin{tabular}{ r c } + $u\sfrac{1}{4}\vee$ \begin{tabular}{ c c } + $t\greater$ & $u\overbrace{t}$ \\ \midrule + $t\sfrac{1}{4}$ & $u\sqsupset t$ \\ + \end{tabular} +\end{tabular} + +\textsc{Try instr. 6, remembering and following instr. 3--5.} \\ +\textsc{When you have to reopen your eyes as per instr. 3, check on anything you forgot. + Then go to page 15. Now---close your eyes.} + + +The rest of the instructions apply when your eyes are open. + +\item \begin{tabular}{ r c } + $u\sfrac{1}{4}\wedge$ & \begin{tabular}{ c c c } + $s_2\wedge$ & $(s_1\longdivision{s_2})$ & $u\vee$ \\ \midrule + $s_2\vee\less$ & $(s_1\longdivision{s_2})$ & $u^\infty s_2$ \\ + \end{tabular} \\ +\end{tabular} + +If $s_2$'s eyes are closed, you must shadow them unless they are too high. + +\item $$u\sfrac{1}{4}\wedge\ s\wedge\less\ (s_1\sqsupset s_2)\ u\equiv s_2$$ + +You blow on $s_2$'s hand unless it is too high. + +\item Adding to Instr. 6, if you have time left over from following +instructions, you may also shadow or blow on sights if they aren't too high. + +\begin{tabular}{ c c c } + $u\sfrac{1}{4}\wedge$ & $s\less$ & \begin{tabular}{ c } + $u^\infty s$ \\ \midrule + $u\equiv s$ \\ + \end{tabular} \\ +\end{tabular} +\end{enumerate} + +You must now put these nine instructions into practice until you have +learned them thoroughly in practice; and even continue after that until you +have difficulty keeping your mind on the exhibit. + +\textsc{If you can't practice the instructions because all the components have vanished, skip to page 18.} + +Otherwise, stay with this phase until you have difficulty keeping your +mind on it. Then turn to Page 16 and the final phase of +perception-dissociation. + +\clearpage + +\subsection*{Final Phase} +\emph{(Page Sixteen)} + +You are now in the final phase of transforming yourself with the +perception-dissociator. When you finish transforming yourself, you will have +lost track of time, and will have ceased to notice sound. You will be dealing +with sights and touches as unrelated phenomena; and you will be responding +by reflex action to unconscious signals from "other people." + +For this last phase, you will turn to Page 5. You will go through the +symbols there in any order you like as if they were one long instruction, +carrying out that instruction. You are to "use" each symbol once. There +have been enough precedents in the interpretation of the symbols that you +should now be able to interpret any combination of them. Continue to +follow the previous numbered instructions as they apply, depending on +whether you are 1, \sfrac{3}{4}, \sfrac{1}{2}, or \sfrac{1}{4}. +(But forget the instructions for time left +over; you won't have any extra time.) +\textsc{Remember the instructions about when to reopen your eyes if you close them.} + +When you are through, you will be transformed. +\textsc{Now turn to page 5 and begin.} + +\clearpage + +If you have found these words and are reading them in desperation +because you are completely confused; or because you have lost interest in +the exhibit; or because you have finished; then you are transformed. + + +If you want to use the model to simulate the reversal of your +transformation before you leave the exhibit, do the following. Spend 50 +seconds erect, with open eyes, walking up to sights and pushing +them---assuming that you will find touches where you see sights. Count the +seconds "one-thousand-and-one," "one-thousand-and-two," etc. + + +Then you will close your eyes. If you are blown on or pushed before +250 seconds have passed, you will open your eyes and--assuming that you +will find a sight where you were touched--you will shadow it. Otherwise you +will open your eyes when the 250 seconds have passed. Now close your eyes +and do as instructed. + + +It is now suggested that you leave the exhibit. Go out through the +curtain. + +\clearpage + +Stay in the exhibit and follow every instruction that is relevant, until +you become thirsty. + + +If you begin to encounter components, return to the page you were on +before you turned to this one. + + +lf you still don't encounter components, the model must be broken. +Leave the exhibit by the same passage through which you entered. + +\clearpage + + +2/22/1963 + + +Henry Flynt and Tony Conrad demonstrate against the Metropolitan Museum of Art, +February 22, 1963 + + +(foto by Jack Smith) + |