diff options
Diffstat (limited to 'essays')
| -rw-r--r-- | essays/dissociation_physics.tex | 40 | ||||
| -rw-r--r-- | essays/letters.tex | 4 | ||||
| -rw-r--r-- | essays/perception_dissociator.tex | 138 | ||||
| -rw-r--r-- | essays/sal_introduction.tex | 27 |
4 files changed, 110 insertions, 99 deletions
diff --git a/essays/dissociation_physics.tex b/essays/dissociation_physics.tex index 4fad12d..0fbab07 100644 --- a/essays/dissociation_physics.tex +++ b/essays/dissociation_physics.tex @@ -13,34 +13,38 @@ Throughout much of the discussion, we have to assume that the human physicist ex Let $T$ indicate tactile and $V$ indicate visual. Let the tactile sensation of open eyes be $T_1$, and of closed eyes be $T_2$. Now anything that can be seen with closed eyes---from total blackness, to the multicolored patterns produced by waving the spread fingers of both hands between closed eyes and direct sunlight---can no doubt be duplicated for open eyes. Closed-eye sights are a subset of open-eye sights. Thus, let sights seen only with open eyes be $V_1$, and sights seen with either open or closed eyes be $V_2$: If there are sights seen only with closed eyes, they will be $V_3$; we want disjoint classes. We are interested in the temporal concurrence of sensations. Combining our definitions with information about our present world, we find there are no intrasensory concurrences (eyes open and closed at the same time). Further, our change will not produce intrasensory concurrences, because each realm will remain coherent. Thus, we will drop them from our discussion. There remain the intersensory concurrences, and four can be imagined; let us denote them by the ordered pairs $(T_1, V_1)$, $(T_1, V_2)$, $(T_2, V_1)$, $(T_2, V_2)$. In reality, some concurrences are permitted and others are forbidden, Let us designate each ordered pair as permitted or forbidden, using the following notation. Consider a rectangular array of \enquote{places} such that the place in the $i$\textsuperscript{th} row and $j$\textsuperscript{th} column corresponds to $(T_i, V_j)$, and assign a $p$ or $f$ (as appropriate) to each place. Then the following state array is a description of regularities in our present world. +\vskip 0.25em \begin{equation} \begin{pmatrix} p & p \\ f & p \end{pmatrix} \end{equation} +\vskip 0.25em -So far as temporal successions of concurrences (within the present world) are concerned, any permitted concurrence may succeed any other permitted concurrence. The succession of a concurrence by itself is excluded, meaning that at the moment, a $V_1$, is defined as lasting from the time the eyes open until the time they next close. +\slop{So far as temporal successions of concurrences (within the present world) are concerned, any permitted concurrence may succeed any other permitted concurrence. The succession of a concurrence by itself is excluded, meaning that at the moment, a $V_1$, is defined as lasting from the time the eyes open until the time they next close.} -We have said that our topic is a certain change; we can now indicate more precisely what this change is. As long as we have a $2\times2$ array, there are 16 ways it can be filled with $p$'s and $f$'s. That is, there are 16 imaginable states. The changes we are interested in, then, are specific changes from the present state (\ref{physpresent}) to another state such as \ref{physafter}. +We have said that our topic is a certain change; we can now indicate more precisely what this change is. As long as we have a $2\times2$ array, there are 16 ways it can be filled with $p$'s and $f$'s. That is, there are 16 imaginable states. The changes we are interested in, then, are specific changes from the present state (\ref{physpresent}) to another state (such as \ref{physafter}). -\vskip 1em{\centering\parbox{0.9\textwidth}{\centering - \parbox{1.5in}{ +{\Huge i need to align theses} + +\vskip 1em +{\parbox[c][2in][c]{1.5in}{ + \raggedleft \begin{equation} \label{physpresent} - \begin{pmatrix} + \begin{matrix} p & p \\ f & p - \end{pmatrix} + \end{matrix} \end{equation}} - \parbox{1.5in}{\begin{equation} + \parbox[c][2in][c]{1.5in}{\begin{equation} \label{physafter} - \begin{pmatrix} + \left(\begin{matrix} p & f \\ p & p - \end{pmatrix} - \end{equation}}\par} - \par} + \end{matrix}\right) + \end{equation}}} \vskip 1em However, we want to exclude some changes. The change that changes nothing is excluded. We aren't interested in changing to a state having only $f$'s, which amounts to blindness. A change to a state with a row or column of $f$'s leaves one sight or touch completely forbidden (a person becomes blind to open-eye sights); such an \enquote{impairment} is of little interest. Of the remaining changes, one merely leaves a formerly permitted concurrence forbidden: closed-eye sights can no longer be seen with open eyes. The rest of the changes are the ones most relevant to perception-dissociation. They are changes in the place of the one $f$; the change to the state having only $p$'s; and finally @@ -60,9 +64,19 @@ However, we want to exclude some changes. The change that changes nothing is exc }} \vskip 1em -In general, we speak of a partition of a sensory realm into disjoint classes of perceptions, so that the two partitions are $[T_j]$ and $[V_j]$. The number of classes in a partition, m for touch and n for sight, is its detailedness. The detailedness of the product partition $[T_j]\times [V_j]$ is written $m\times n$. This detailedness virtually determines the $(mn)^2$ imaginable states, although it doesn't determine their qualitative content. Now suppose one change is followed by another, so that we can speak of a change series. It is important to realize that by our definitions so far, a change series is not a conposition of functions; it is a temporal phenomenon in which each state lasts for a finite time. (A function would be a general rule for rewriting states. A $2\times2$ rule might say, rotate the state clockwise one place, from \ref{physegcwa} to \ref{physegcwb}. +In general, we speak of a partition of a sensory realm into disjoint classes of perceptions, so that the two partitions are $[T_j]$ and $[V_j]$. The number of classes in a partition, m for touch and n for sight, is its detailedness. The detailedness of the product partition $[T_j]\times [V_j]$ is written $m\times n$. This detailedness virtually determines the $(mn)^2$ imaginable states, although it doesn't determine their qualitative content. Now suppose one change is followed by another, so that we can speak of a change series. It is important to realize that by our definitions so far, a change series is not a composition of functions; it is a temporal phenomenon in which each state lasts for a finite :waittime. (A function would be a general rule for rewriting states. A $2\times2$ rule might say, rotate the state clockwise one place, from \ref{physegcwa} to \ref{physegcwb}. -\vskip 1em {\centering\parbox{0.9\textwidth}{\centering\parbox{1.25in}{\raggedleft\begin{equation}\label{physegcwa}\begin{pmatrix}a & b \\ c & d\end{pmatrix}\end{equation}}\parbox{1.25in}{\begin{equation}\label{physegcwb}\begin{pmatrix}c & a \\ d & b\end{pmatrix}\end{equation}}}} \vskip 1em +\begin{wraptext} + \begin{equation}\begin{pmatrix} a & b \\ c & d \end{pmatrix}\end{equation} + \label{physegcwa} +\end{wraptext} + +\begin{wraptext} + \label{physegcwb} + \begin{equation} + \left(\begin{matrix}c & a \\ d & b\end{matrix}\right) + \end{equation} +\end{wraptext} But a composition of rules would not be a temporal series; it would be a new rule.) Returning to the sorting of changes, we always exclude the no-change changes, and states having only $f$'s. We are unenthusiastic about \enquote{impairing}changes, changes to states with rows or columns of $f$'s. Of the remaining changes, some merely forbid, replacing $p$'s with $f$'s. The rest of the changes are the most perception-dissociating ones. diff --git a/essays/letters.tex b/essays/letters.tex index 8f82eab..7d46124 100644 --- a/essays/letters.tex +++ b/essays/letters.tex @@ -4,10 +4,6 @@ \clearpage \renewcommand\thesection{\arabic{section}} -\titleformat{\section}[block] -{\sffamily} -{\thesection}{1.5em}{\bfseries} -\titlespacing{\section}{0in}{0.5cm}{0.5cm}[0.5cm] \section{Letter from Terry Riley, Paris, to Henry Flynt, Cambridge, Mass., dated 11/8/62} diff --git a/essays/perception_dissociator.tex b/essays/perception_dissociator.tex index 31d7db7..faa19d3 100644 --- a/essays/perception_dissociator.tex +++ b/essays/perception_dissociator.tex @@ -13,12 +13,16 @@ \chapter{Exhibit of a Working Model of a Perception-Dissociator} -\section*{\textsc{Statement of Objectives}} +\section{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 +\vskip 1em + +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 . + +\vskip 1em \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) @@ -28,75 +32,62 @@ To construct the model almost entirely from the visitors coming to see it, so th What the hypothetical perception-dissociator will do that is not possible now: \end{sysrules} -\begin{itemize} +\vskip 0.5em + +\begin{itemize}[label=\textbullet, nosep, itemsep=0.25em] \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 down your sense of time. +\slop{\item Physically, \enquote{psychoelectronically} induce conditioned reflexes in your nervous system. Physically break down your sense of time.} + \end{itemize} +\clearpage + +\null\vfill + { \centering \large [\textsc{Invitation}] \par} - +\vskip 2em { \centering Because of your interest in technology and science, you are invited to visit \\ +\vskip 0.35em \textsc{Exhibit of a Working Model of a} \\ \textsc{Perception-Dissociator} \\ +\vskip 0.35em Sponsored by (legitimate sponsor) Open continuously from (date) \\ to (date) At (lunar colony or space station) \par } -\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.} +\vfill +\Q{\slop{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 -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. +\vfill + +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. + +\vfill + +\clearpage +\section{To the Director} -\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 -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. - -{\centering +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 \enquote{normal} entrance door leading in from \enquote{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. Normal 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 hall. 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. + +\slop{Exhibit hall large and empty with very high ceiling (Fuller dome?). 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.} + +\begin{figure}[b] +\centering \includegraphics[scale=1]{img/dissociatordiag}\par -} +\end{figure} + +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. + \cleardoublepage \newcommand\intab[1]{ @@ -133,60 +124,43 @@ and doesn't go back in. \lefttab{2} -\uline{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 \uline{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} +\uline{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 \uline{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: +\vskip 0.5em +\begin{enumerate}[label=\arabic*., nosep, itemsep=0.5em] \item Optical phenomena that are seen---\enquote{sights.} \item Solid or \uline{massive} phenomena that are felt cutaneously---\enquote{touches.} \end{enumerate} +\vskip 0.5em 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. \vfill -(Keep reading) +\textit{(Keep reading)} -\vfill +\vskip 4em \clearpage \righttab{3} -In other words, from the beginning the machine has properties that the -entire world comes to have to the transformed organism. +\vfill + +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 \enquote{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. +\slop{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. 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. +\vfill + \clearpage \lefttab{4} @@ -795,7 +769,7 @@ them. You must be sensitive and judge heights with eyes closed. \belowU{t} \pushes{u}{t} \\ \end{array} \:\: \left( \begin{gathered} - \aboveU{t} \: \text{\textsc{means "if $t$ stands high relative to you"}} \\ + \aboveU{t} \: \text{\textsc{means \enquote{if $t$ stands high relative to you}}} \\ \belowU{t} \: \text{\textsc{means "if $t$ is near ground relative to you"}} \end{gathered} \right) \] diff --git a/essays/sal_introduction.tex b/essays/sal_introduction.tex new file mode 100644 index 0000000..d6359fb --- /dev/null +++ b/essays/sal_introduction.tex @@ -0,0 +1,27 @@ +\chapter{Salitter Workings Introduction} + +This will be brief. I'm not a fan of introductions not written by the authors themselves. + +Liberties were taken in typesetting. Few of them I can imagine causing any outrage, but I did add a non-negligible amount of typographical emphasis in various forms to \essaytitle{Philosophy Proper}. I found it a challenge to navigate his language in the section, and to my own reading and a few that I showed it to, having a wider variety of means to specify different kinds of terms, being used in different kinds of ways, was a great aid. + +I have included a number of additional pieces of writing not in the original publication. These writings fall into three categories: +\vskip 0.3em +\begin{enumerate}[label=\alph*., nosep, itemsep=0.5em] + \item The pieces that composed the collection known as \booktitle{Fragments \& Reconstructions from a Destroyed Oeuvre, 1959--1963}, along with (probably) a number of other things that just happened to be near them. These were tediously dragged off of the MoMA online collection of Flynt's artwork.\footnote{\texttt{\uline{https://www.moma.org/artists/35796}}} These pieces generally predate the ones here, and I find they often add interesting context and show some through-lines of Flynt's thinking, concepts as they develop and mature, yadda yadda. + \item The later piece of writing \essaytitle{The Radicalism of Unbelief}, published in \textsc{i-kon} magazine in 1982. Flynt's philosophy by no means stopped developing with this book, and I think this is a (somewhat unusually) approachable piece that paints a picture of some directions his thinking would develop in. + \item The old, striking, and distinctly-disowned-feeling essay \essaytitle{Communists Must Give Revolutionary Leadership in Culture} (published 1965). Because of how disowned-feeling it does feel, I have some hesitation about putting it in. It certainly feels uncanny to see Flynt so \emph{aligned} with a \emph{programme}. I still found it a quite interesting historical artifact both in the development of Flynt's thinking and as a peephole into the political dynamics of the art scene at the time, such as Flynt himself reflects upon in writings like \essaytitle{\textsc{The Art Connection}: My endeavor's intersections with art} (2005). +\end{enumerate} + +\vskip 3em + +That's all. Enjoy. Thanks for your interest, I worked quite hard on it. + +\vfill + +{\raggedleft\itshape +---Salitter Committee (Phoebe)\par} + +\clearpage +\null\vfill +\photopage{img/flynt_wak}{}{From the cover of \emph{Fragments \& Reconstructions from a Destroyed Oeuvre, 1959--1963}}{} +\vfill
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