From 726cedbbd3b369697576ece5989a1cfa712b0b1e Mon Sep 17 00:00:00 2001
From: grr <grr@lo2.org>
Date: Mon, 29 Apr 2024 21:56:53 -0400
Subject: up to middle of perception dissociator. lesgo

---
 blueprint.tex | 735 ++++++++++++++++++----------------------------------------
 1 file changed, 226 insertions(+), 509 deletions(-)

(limited to 'blueprint.tex')

diff --git a/blueprint.tex b/blueprint.tex
index 14eda0f..2c3327b 100644
--- a/blueprint.tex
+++ b/blueprint.tex
@@ -4181,12 +4181,7 @@ of liquid, near where they meet. There are no other objects in the bodies of
 liquid. The slab, liquid, and spaces are the energy cube organism's entire 
 cosmology. (See the illustration.) 
 
-
-ILLUSTRATION 
-
-
-113 
-
+\img{energycube}
 
 The energy cube organism can continuously change position, 
 continuously and instantly moving the liquid from its path into its wake so 
@@ -4200,8 +4195,8 @@ its existence). The memory consists of symbols which are given "meaning"
 by their extra-linguistic mental! associations--in human terms, it consists of 
 language. The complete memory contains tens of thousands of partial 
 memories, which the organism can only have one at a time. Going through 
-the partials--which it does as if they were the phonemes of one long 
-word--constitutes its one complete memory. Each partial is a memory of the 
+the partials---which it does as if they were the phonemes of one long 
+word---constitutes its one complete memory. Each partial is a memory of the 
 difference in the organism's minimum distances from the destination edge, at 
 the beginning, and at the end, of some interval of time. Call the difference its 
 "progress." The total of time intervals in all the partials completely covers 
@@ -4232,110 +4227,25 @@ energy cube organism to move itself, throughout the entire time it takes to
 reach the destination edge. There are different possible methods, and each 
 could get the organism across; but the methods cannot be combined in any 
 way. Every order of all partials signifies a different possible method. These 
-
-
-114 
-
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-14 
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-oS 
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-— 
-c 
-
-Qa 
-£ 
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-2 
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-a] 
-£ 
-rw) 
-
-
-used to show intervals, 1st temporal memory omenrasmemiia 
-used to show "intervals," 2nd temporal memory ............ 
-used to show tracks of "intervals," 2nd memory 
-
-usedtoshowrelationships eae ae 
-
-
-4th partial 
-
-
-I 
-I 
-
-
-I 
-
-3rd partial 
-, 2nd partial 
-: : 
-
-I I 
-I I 
-
-
-n 
-l i 
-I 
-I I 
-
-
-absolute times, covered by intervals 
-{absolute times covered by) intervals, 
-Ist temporal memory 
-
-
-GRAPH showing a possible relationship 
-in the dual temporal memory 
-
-
-115 
-
-
 possible methods are in no special order. When a partial is added to the 
 memory, the number of possible methods is increased by a factor equal to 
 the new number of partials. 
 
+\img{energycubegraph}
+
+{
+	\centering
+	\textsc{Graph} showing a possible relationship in the dual temporal memory 
+	\par
+}
+
 
-Now the complete memory is obtained by going through the partials--in 
+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 
 remarkable feature of the whole cosmology. An approach to this feature in 
 human terms is to say that when the organism goes through the partials, (it 
-dreams that) it has been using the method indicated--and is presently using 
+dreams that) it has been using the method indicated---and is presently using 
 it. It (does not remember the dream, and) does not remember going through 
 the partials. It has no other memory of which method it has been using. 
 
@@ -4358,27 +4268,23 @@ formed from transparent planes, spherical surfaces and the like. Call them
 "orojected surfaces." The fluid colors can be stationary or flowing. There are 
 "channels," which are strung-out series of fluid colors. There are 
 "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 
+open. Two channels can cross each other. There are pairs of channels such 
 that earlier members of each channel flow into later members of the 
-other--calied "screw-connected" channels. Fluid colors often occur on or 
+other---called "screw-connected" channels. Fluid colors often occur on or 
 within projected surfaces. Projected surfaces can be growing or held. A 
 visualization can be at the forefront of attention, or in the back of the mind. 
 That is, states have depth, and visualizations can be at different depths. The 
 state as a whole can be "frozen" or "melted." A human approach is to say 
-that a "frozen" state is set or fixed; while a "melted" state is fluid--the state 
+that a "frozen" state is set or fixed; while a "melted" state is fluid---the state 
 itself flows. A state can be projected into "superstate," gaining an abnormal 
-amount of mental! energy and becoming superdizziness or superanxiety, for 
+amount of mental energy and becoming superdizziness or superanxiety, for 
 instance. 
 
-
-116 
-
-
 Most interesting, states in different possible methods can have contact 
 with each other. A human approach is to say that dreams are so flexible that 
-the organism can dream that an actual! state is/was in contact with a state in 
+the organism can dream that an actual state is\slash was in contact with a state in 
 a possible method. One sort of cross-method contact is for states to be 
-'Snterfrozen" --more easily frozen because they are somehow mixed. They 
+"interfrozen"---more easily frozen because they are somehow mixed. They 
 can also be "intermelted." 
 
 I will describe a method, as the organism would be conscious of it in 
@@ -4393,11 +4299,11 @@ trajectory which shears, and closes, open channels. If no violation of the
 channels cross-mars the melt, the stack meshes with the sharp-open channels. 
 The dream becomes interfrozen, and mixed clear-headed states compress the 
 closed channels which were not fixed at the dream's surface. A fused 
-exterior double-flash (a certain maximally 'glowing surface") is 
+exterior double-flash (a certain maximally "glowing surface") is 
 expand-enveloped by euphoria, which becomes dizziness; and oblique 
 lattices are projected from the paralinear deviation of guided open channels 
 in it. Growing shells are dreamed into violet sound-slices (certain synesthetic 
-"fluid colors') by the needed jumped drag (a generic state}, a crossfrozen 
+"fluid colors") by the needed jumped drag (a generic state), a crossfrozen 
 dream. Channels in a growing anxiety enspiral concentric shells having 
 intermixed reservoirs between them, during cyclic intersection of the anxiety 
 in superstate. And on and on. Time is here the time it takes to carry out the 
@@ -4417,12 +4323,10 @@ human terms, in each reservoir there is precisely one point of "maximum
 mixture" of the primary colors. The primary colors are mentally mixed in 
 any way until the right amount of mixture is reached. There is a scale of 
 measurement for amounts of mixture of the colors. There is a scale for 
-vertical distances on the surface--for how far one point is below another. The 
-
-
+vertical distances on the surface---for how far one point is below another. The 
 difference in amounts of mixture at the two points of maximum mixture 
-corresponds to the lengti; of the first temporal interval; and the difference 
-between the>maximum possible amount of mixture and the lesser of the two 
+corresponds to the length of the first temporal interval; and the difference 
+between the maximum possible amount of mixture and the lesser of the two 
 amounts of maximum mixture on the surface corresponds to the distance 
 from the fixed beginning time to the interval's and. The vertical distance 
 between the two points of maximum mixture corresponds to the length of 
@@ -4444,7 +4348,7 @@ organism's future course of action, tells what progress will be made when
 and by which method. 
 
 
-The Representation 
+\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 
@@ -4455,18 +4359,14 @@ envelope, which bears the injunction not to have more than one sheet out at
 a time. Three of the tens of thousands of partials are represented. 
 
 
-118 
-
+\chapter{Representation of the Memory of an Energy Cube Organism (ORIGINAL 1961 VERSION)}
 
-ORIGINAL 1961 VERSION 
-
-
-Foreward 
+\section*{Foreward}
 
 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 
-between the signs X and lX Part of the fourth paragraph is flagged because a 
+between the signs $\ltimes$ and $\rtimes$. Part of the fourth paragraph is flagged because a 
 sequence of units is not analogous to a sequence of inflected words; it is 
 rather more like permutations of letters which form words ('rat', 'tar', 'art'). 
 Most of the seventh paragraph is flagged because I promise to define intervals 
@@ -4484,8 +4384,8 @@ relates only to the "multiplex" version, or whether it would relate to the
 "style" version if the word 'multiplex' were omitted. The passages suggesting 
 this notion are placed in brackets. 
 
-
-1. Energy cube organisms are conscious organisms which are cubical 
+\begin{enumerate}
+\item Energy cube organisms are conscious organisms which are cubical 
 spaces containing only energy. The particular energy cube organism of 
 concern here has, for an indefinitely long time, been in a body of liquid, 
 "resting on' a rectangular energy slab also in the body of liquid; the 
@@ -4494,31 +4394,26 @@ of the liquid. The "universe" the organism and slab are in is made up of four
 infinite triangular right prisms, prismatic spaces, as defined geometrically by 
 two intersecting planes almost perpendicular to each other. The prismatic 
 spaces defined by the vertical obtuse dihedral angles are empty. The other 
-spaces, defined by the vertical acute dihedral! angles, are infinite bodies of a 
-stationary, colorless lfiquid--the "upper" body of liquid being what the 
+spaces, defined by the vertical acute dihedral angles, are infinite bodies of a 
+stationary, colorless liquid--the "upper" body of liquid being what the 
 organism and slab are in. The two opposite shorter edges of the slab are at 
 the faces of the body of liquid, the planes, near their intersection; the slab is 
 "slanted," so that the edges are at slightly different distances from the line 
 of intersection. The organism and slab are the only "objects" in the bodies 
 of liquid. (See the illustration.) The organism can move (the energy cube can 
-
-
-119 
-
-
 continuously change position) without creating currents in the liquid. For 
-almost as 'ong as it has been in the liquid, the organism has devoted all its 
+almost as long as it has been in the liquid, the organism has devoted all its 
 "intelligence," all its "energies," to moving across the slab, from one of the 
 shorter edges to (any point on) the other. 
 
-Z The organism's conscious, distinct memory is entirely concerned 
-with, is entirely cf, its efforts to cross the slab. (1 am using 'memory' 
+\item The organism's conscious, distinct memory is entirely concerned 
+with, is entirely of, its efforts to cross the slab. (I am using 'memory' 
 narrowly to refer to an organism's memory of its past. I am counting its 
-"general information," for example Knowing a language, not as part of its 
+"general information," for example knowing a language, not as part of its 
 memory but as imagings not memories. Thinking the sequence 1, 2, 1, 2 is 
 not in itself remembering.) The total memory consists of a large number of 
 units (tens of thousands), of which the organism can be attentive to precisely 
-one at a time. 'Total recall," the total memory, involves considering, having, 
+one at a time. "Total recall," the total memory, involves considering, having, 
 all units in any succession, which the organism can do very rapidly. Now 
 from one point of view, the memory consists of its content; from another, it 
 consists of symbols, just as human memories often consist of language. In 
@@ -4533,7 +4428,7 @@ interval. The total of intervals, in the total of units, cover the "absolute"
 interval of time from the earliest to the most recent remembered event; as 
 time passes, more units are added to the memory. 
 
-3. Now the memory is temporally dual: the interval of time for each 
+\item Now the memory is temporally dual: the interval of time for each 
 unit is first, an interval of 'absolute' time; defined by its duration, and the 
 "absolute" time of its end (stated with respect to an "absolute event" such 
 as the appearance of the organism on the slab); and secondly, an interval 
@@ -4543,17 +4438,12 @@ ended at January 1, 1000 A.D.; as well as remembering that it was made
 during one year which ended 1,000 years ago. In the second temporal 
 memory, the absolute time of the end of the interval to which the progress is 
 assigned changes according as the absolute time of the present instant 
-changes. For example, it is like remembering "that so much progress was 
-made during one year ending 1,000 years ago," and, 100 years later, 
-remembering--'that so much progress was made during one year ending 
-1,000 years ago"; and in general, always remembering "that so much 
-progress was made during one year ending 1,000 years ago.' Both temporal 
+changes. For example, it is like remembering \said{that so much progress was 
+made during one year ending 1,000 years ago,} and, 100 years later, 
+remembering---\said{that so much progress was made during one year ending 
+1,000 years ago}; and in general, always remembering \said{that so much 
+progress was made during one year ending 1,000 years ago.} Both temporal 
 memories are in their own ways "natural," the first being anchored at an 
-
-
-120 
-
-
 "absolute beginning," the second at the present instant. When a unit is added 
 to the memory, the interval of time of the first temporal memory is added at 
 the end, exactly covers the time not already covered, up to the absolute time 
@@ -4575,9 +4465,9 @@ concerned to "explain" the duality with respect to when the amounts of
 progress were made, whether when they were "really" made stayed the same 
 and changed, or whether the memory is inconsistent about it, or what. 
 
-4. I will now turn to the aspect of the memory concerned with the 
-method the organism has used to move itself. # Methodologically, the 
-memory is a multiplex symbol.# A "single method" is everything to be done 
+\item I will now turn to the aspect of the memory concerned with the 
+method the organism has used to move itself. $\ltimes$ Methodologically, the 
+memory is a multiplex symbol. $\rtimes$ A "single method" is everything to be done 
 by the organism, to move itself, throughout the total time it takes to reach 
 the destination edge; so that the organism could not use two different 
 "single methods," must, after it chooses its method, continue with it alone 
@@ -4585,25 +4475,20 @@ throughout. The organism has available different (single) methods, has
 different methods it could try. The different sequences, of all units, are 
 assigned to the different (single) methods available to the organism to signify 
 them; are symbols for them. (Thus, the number of available methods 
-increases as units are added to the memory.) /Now all this only approximates 
+increases as units are added to the memory.) Now all this only approximates 
 what is the case, because contrary to what I may have implied, which 
 method is used is not a matter of "fact" as are the temporal intervals and 
 amounts of progress. As I have said, having all units in any succession 
-constitutes the total memory, total recall ('factually")--different sequences 
-of all units are each the total memory, total recall, << but, as language, the 
+constitutes the total memory, total recall ("factually")--different sequences 
+of all units are each the total memory, total recall, $\ltimes$ but, as language, the 
 total memory in different styles (like words in different orders in a highly 
 inflected language); and the matter of method (which might better be said to 
 be "manner") corresponds to the matter of style, rather than factual 
 content, of language. Different styles exclude each other, but not what is 
-said in each other's being true. Thus it is that the number of available 
-
-
-121 
-
-
+said in each other's being true.$\rtimes$ Thus it is that the number of available 
 methods can increase; and that any sequence of all units can constitute the 
 total memory, total recall ("factually"), although different sequences signify 
-different methods used./ #As an indicator of the method used, the whole 
+different methods used. $\ltimes$ As an indicator of the method used, the whole 
 memory is a multiplex symbol. Names for each of the methods are combined 
 in a single symbol, the totality of units. In remembering, the organism 
 separates any single name by going through all the units in succession, and 
@@ -4612,9 +4497,9 @@ information about the method used. I will not be concerned to "explain"
 the matter of the increasing number of available methods; or the matter of 
 any sequence of all units' constituting the complete reading, the total 
 memory, total recall, but different sequences' signifying different methods 
-used.# 
+used. $\rtimes$
 
-5. I will give just an indication of what the available methods [and 
+\item I will give just an indication of what the available methods [and 
 their relations through the multiplex memory] are like. Throughout this 
 description, there has been the difficulty that English lacks a vocabulary 
 appropriate for describing the "universe" I am concerned with, but the 
@@ -4643,17 +4528,12 @@ members of the other). First-order contents (fluid colors) often occur on or
 within second-order ones (projective surfaces). Second-order contents can be 
 "held" or "growing." States of mind have depth, 'deeper' being 'farther from 
 the forefront of attention'; and contents can be at different depths. A state 
-
-
-122 
-
-
 of mind as a unity can be "frozen," which is more than just unchanging (in 
 particular having its contents stationary or held). It can be projected into 
 "superstate," remaining a state of mind but being superenergized. [Most 
 interesting, states of mind, in different methods signified by different 
 symbols combined in the multiplex methodological memory, can have 
-contact with each other, for example be "interfrozen."I] A partial description 
+contact with each other, for example be "interfrozen."] A partial description 
 of a method will give an idea of the complexity of the methods. Channels are 
 generated by a frozen non-conscious state, and become fixed in the surface 
 layer of an [inter] melted trance. The screw-crossed channels erode crevices 
@@ -4663,7 +4543,7 @@ The dream becomes melted, and proceeds in a trajectory which shears, and
 closes, open channels. If no violation of the channels cross-mars the melt, the 
 stack meshes with the sharp-open channels. The dream becomes [inter] 
 frozen, and mixed calculation states compress the closed channels which 
-were not surface-fixed in it. A fused exterior double-flash {a certain 
+were not surface-fixed in it. A fused exterior double-flash (a certain 
 maximally radient surface) is expand-enveloped by a trance, which becomes 
 dizziness; and oblique lattices are projected from the paralinear deviation of 
 guided open channels in it. Growing shells are dreamed into violet 
@@ -4678,29 +4558,23 @@ gives characteristics of the method than 'q' does of the table. In fact, the
 available methods and sequences do not have any particular order; one 
 cannot speak of the "first" method, the "second," or the like. 
 
-
-6. I will now concentrate on the character of the memory as a mental 
+\item I will now concentrate on the character of the memory as a mental 
 entity, and the rest of the symbolism used in it and specific content. A unit 
-is a rectangular plane ("visualized") radient surface (! --the terminology is 
+is a rectangular plane ("visualized") radient surface (! ---the terminology is 
 that introduced in the last paragraph), which has two stationary plane 
-reservoirs {! ) on it, and has a triangular hole (! ) in it. The triangular hole is 
+reservoirs (!) on it, and has a triangular hole (!) in it. The triangular hole is 
 a simple symboi not yet explained: its perimeter equals the amount of the 
 organism's progress, the difference in its minimum distances from the 
 destination edge, in the interval the unit is concerned with. Absence of the 
 hole indicates zero perimeter and no progress. 
 
-7. As for the symbols for the temporal interval. The colors in each of 
+\item As for the symbols for the temporal interval. The colors in each of 
 the two reservoirs on each unit are primary, and are mixed together. 
 Speaking as accurately as possible in English, in each reservoir there is 
-
-
-123 
-
-
 precisely one point of "maximum mixture' of the primary colors. (The rest 
 of the reservoirs are not significant: the primary colors are mentally mixed in 
 any way to get the right amount of mixture, as pigments are mixed on a 
-palette.) X\_ For the first temporal memory, these points are two points on a 
+palette.) $\ltimes$ For the first temporal memory, these points are two points on a 
 scale of amounts of color mixture. For the second memory, the points are 
 two points on a scale of vertical distances from the imaginary horizontal! line 
 which bisects the rectangular surface, divides it into lower and upper halves. 
@@ -4717,15 +4591,16 @@ of absolute duration per unit difference in amounts of mixture, and the
 number of units of absolute duration per unit difference in distances from 
 the imaginary dividing line. The markers arbitrarily assigned to the triples of 
 information giving these parts of the scale are average radiences per unit 
-areas of the units (excepting the holes). —X 
+areas of the units (excepting the holes). $\rtimes$
 
-8. A final aspect of interest. Not too surprisingly, the transformation 
+\item A final aspect of interest. Not too surprisingly, the transformation 
 which is inverting all units gives, if one considers not the first temporal 
 memory but its reflection in the present instant, the organism's precognized 
 course of action in the future, specifically, what progress will be made when. 
+\end{enumerate}
 
 
-The Representation 
+\section*{The Representation}
 
 With this background, it is not surprising that the method of 
 representation I have chosen is visual representation of the units, the 
@@ -4741,8 +4616,8 @@ have the memory as nearly as possible as the organism does. I have
 represented eleven of the tens of thousands of units in the total memory. 
 
 
-Concept Art 
-Copyright 1961 by Henry A.Flynt, Jr. 
+\chapter{Concept Art}
+{ \raggedleft (1961) \par }
 
 
 Concept art is first of all an art of which the material is concepts, as the 
@@ -4752,7 +4627,9 @@ is, unlike e.g. a work of music, in which the music proper (as opposed to
 notation, analysis, etc.) is just sound, concept art proper will involve 
 language. From the philosophy of language, we learn that a concept may as 
 well be thought of as the intension of a name; this is the relation between 
-concepts and language.* The notion of a concept is a vestige of the notion of 
+concepts and language.\footnote{The extension of the word 'table' is all 
+existing tables; the intension of 'table' is all possible instances of a table.}
+The notion of a concept is a vestige of the notion of 
 a platonic form (the thing which e.g. all tables have in common: tableness), 
 which notion is replaced by the notion of a name objectively, metaphysically 
 related to its intension (so that all tables now have in common their 
@@ -4770,27 +4647,18 @@ concepts? This question can best be answered by telling where concept art
 came from; I developed it in an attempt to straighten out certain traditional 
 activities generally regarded as aesthetic. The first of these is structure art, 
 music, visual art, etc., in which the important thing is "structure." My 
-definitive discussion of structure art is in my unpublished essay Structure 
-Art and Pure Mathematics; here I will just summarize that discussion. Much 
-structure art is a vestige of the time when e.g. music was believed to be 
-knowledge, a science, which had important things to say in astronomy etc. 
+definitive discussion of structure art is in my unpublished essay \essaytitle{Structure 
+Art and Pure Mathematics}; here I will just summarize that discussion. Much 
+structure art is a vestige of the time when \eg music was believed to be 
+knowledge, a science, which had important things to say in astronomy \etc
 Contemporary structure artists, on the other hand, tend to claim the kind of 
 cognitive value for their art that conventional contemporary mathematicians 
-
-
-* The extension of the word 'table' is all existing tables; the intension of 
-'table' is all possible instances of a table. 
-
-
-125 
-
-
 claim for mathematics. Modern examples of structure art are the fugue and 
 total serial music. These examples illustrate the important division of 
 structure art into two kinds according to how the structure is appreciated. In 
 the case of a fugue, one is aware of its structure in listening to it; one 
 imposes relationships, a categorization (hopefully that intended by the 
-composer)on the sounds while listening to them, that is, has an (associated) 
+composer) on the sounds while listening to them, that is, has an (associated) 
 artistic structure experience. In the case of total serial music, the structure is 
 such that this cannot be done; one just has to read an analysis of the 
 music, definition of the relationships. Now there are two things wrong with 
@@ -4810,12 +4678,12 @@ Sweets, by the Drifters) can get. When you make the change, then since
 structures are concepts, you have concept art. Incidentally, there is another, 
 less important kind of art which when straightened out becomes concept art: 
 art involving play with the concepts of the art such as, in music, the score, 
-performer-vs. listener, playing a work. The second criticism of structure art 
+performer vs. listener, playing a work. The second criticism of structure art 
 applies, with the necessary changes, to this art. 
 
 The second main antecedent of structure art is mathematics. This is the 
-result of my revolution in mathematics, presented in my 1966 Mathematical 
-Studies; here I will only summarize. The revolution occured first because for 
+result of my revolution in mathematics, presented in my 1966 \essaytitle{Mathematical 
+Studies}; here I will only summarize. The revolution occured first because for 
 reasons of taste I wanted to deemphasize discovery in mathematics, 
 mathematics as discovering theorems and proofs. I wasn't good at such 
 discovery, and it bored me. The first way I thought of to de-emphasize 
@@ -4827,11 +4695,6 @@ philosopher, that the conventional claim that theorems and proofs are
 discovered is wrong, for the same reason I have already given that 'concept' 
 can be discredited. The third way, which came in the fall-winter of 1960, 
 was to work in unexplored regions of formalist mathematics. The resulting 
-
-
-126 
-
-
 mathematics still had statements, theorems, proofs, but the latter weren't 
 discovered in the way they traditionally were. Now exploration of the wider 
 possibilities of mathematics as revolutionized by me tends to lead beyond 
@@ -4856,8 +4719,7 @@ for the emotions, perhaps it would be better to restrict art to apply to art for
 the emotions, and recognize my activity as an independent, new activity, 
 irrelevant to art (and knowledge). 
 
-
-Concept Art Version of Mathematics System 3/26/61 (6/19/61) 
+\section*{Concept Art Version of Mathematics System 3/26/61 (6/19/61)}
 
 An element is the adjacent area (with the figure in it) so long as the 
 apparent, perceived, ratio of the length of the vertical line to that of the 
@@ -4873,70 +4735,67 @@ equal in length; constructing similar figures with a variety of real (measured)
 ratios and practicing judging these ratios; and so forth.) 
 
 [Observe that the order of elements in a selection sequence may not be the 
-order in which one sees them. ] 
+order in which one sees them.] 
 
 
-127 
+\img{implications}
 
-
-Implications--Concept Art Version of Colored Sheet Music No.1 3/14/61 
-(10/11/61) 
+\section*{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 
 since there is no objective relation between name and intension, all 
 mathematics is this arbitrary. Originally, the successive statements, or sheets, 
-were to be played on an optical audiorecorder. I 
+were to be played on an optical audiorecorder.]
 
+\begin{sysrules}
 The axiom: a sheet of cheap, thin white typewriter paper 
 
 The axiom implies statement 2: soak the axiom in inflammable liquid which 
 does not leave solid residue when burned; then burn it on horizontal 
-rectangular white fireproof surface--statement 2 is ashes (on surface) 
+rectangular white fireproof surface---statement 2 is ashes (on surface) 
+
 Statement 2 implies s.3: make black and white photograph of s.2 in white 
 light (image of ashes' rectangle with respect to white surface (that is, of the 
 region (of surface, with the ashes on it) with bounding edges parallel to the 
 edges of the surface and intersecting the four points in the ashes nearest the 
-four edges of the surface) must exactly cover the film); develop film-- s. 3 is 
-the negative 
+four edges of the surface) must exactly cover the film); develop film---s.3 is 
+the negative.
 
-\$.2 and s.3 imply s.4: melt s.3 and cool in mold to form plastic doubly 
+s.2 and s.3 imply s.4: melt s.3 and cool in mold to form plastic doubly 
 convex lens with small curvature; take color photograph of ashes' rectangle 
-in yellow light using this lens; develop film-- s. 4 is color negative 
+in yellow light using this lens; develop film---s.4 is color negative.
 
-\$.2 and s.4 imply s.5: repeat last step with s.4 (instead of 3), using red 
-light-- s. 5 is second color negative 
+s.2 and s.4 imply s.5: repeat last step with s.4 (instead of 3), using red 
+light---s.5 is second color negative 
 
-S.2 and s.5 imply s.6: repeat last step with s.5, using blue light-- s. 6 is third 
+s.2 and s.5 imply s.6: repeat last step with s.5, using blue light---s.6 is third 
 color negative 
 
-\$.2 and s.6 imply s.7: make lens from s.6 mixed with the ashes which have 
+s.2 and s.6 imply s.7: make lens from s.6 mixed with the ashes which have 
 been being photographed; make black and white photograph, in white fight, 
 of that part of the white surface where the ashes' rectangle was; develop film 
+--- s.7 is second black and white negative 
 
-
-
-- s.7 is second black and white negative 
-
-S.2, s.6, and s.7 imply the theorem: melt, mold, and cool lens used in last 
+s.2, s.6, and s.7 imply the theorem: melt, mold, and cool lens used in last 
 step to form negative, and make lens from s.7; using negative and lens in an 
 enlarger, make two prints, an enlargement and a reduction--enlargement and 
 reduction together constitute the theorem. 
+\end{sysrules}
 
+\section*{Concept Art: Innpersegs (May--July 1961)}
 
-Concept Art: Innpersegs (May - July 1961) 
-
+\begin{sysrules}
 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 "init'point" iff a halpoint in the initial vague outer ring of its halo. 
+
+An "init`point" 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 
+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 
@@ -4946,203 +4805,87 @@ any) are initpoints or first members of preceding sequences; all first members
 of sequences other than the last [two] appear as non-first members, and 
 halpoints appear only once as non-first members; and the last sequence has 
 one member. 
+\end{sysrules}
 
+\section*{Indeterminacy}
 
-Indeterminacy 
-
-A ftotaliy determinate innperseq' iff an innperseq: in which one is aware of 
+\begin{sysrules}
+A $\ulcorner$totally determinate innperseq' iff an innperseq$\urcorner$ in which one is aware of 
 (specifies) all halpoints. 
 
-An fantecedentally indeterminate innperseq' iff an innperseq in which one is 
+An $\ulcorner$antecedentally indeterminate innperseq' iff an innperseq$\urconer$ in which one is 
 aware of (specifies) only each consequent and the radial seqment beyond it. 
-A 'thalpointally indeterminate innperseq' iff an innperseq'in which one is 
+
+A $\ulcorner$halpointally indeterminate innperseq' iff an innperseq$\urcorner$ in which one is 
 aware of (specifies) only the radial segment in the vague outer ring, and its 
 inner endpoint, as it progresses inward. 
 
-Innpersegs Diagram 
+\subsection*{Innperseqs Diagram}
 
 In the diagram, different positions of the vague outer ring at different times 
 are suggested by different shadings. The radia! segment in the vague outer 
 ring moves down the page. The figure is by no means an innperseq, but is 
 supposed to help explain the definition. 
 
+\img{innperseqsdiagram}
 
-129 
-
-
-Successive bands represent the vague outer ring at successive times as it fades in toward the small bright tight. 
-
-
-INNPERSEOQS DIAGRAM ; 
-Halpoints at 
-
-
-! time): ay a9 a3 aq a5 ag a7 b 
-4.49 + p 
-if time: a9 43 aq a5 ag a7 be 
-
-
-a3 — Se 
-
-
-SSS 
-Se 
-
-
-wa 
-
-
-SSS SS 
-
-
-TSO 3 
-V3 
-
-
-KS SS 
-
-
-time3: a4 @5agaz7 DC d 
-
-
-24,45 > d 
-
-
-WSS SSS 
-BWBABWVAAs 
-WIS SAR SRS SSS ORS SS OSS SS SS 
-
-
-A 
-Y 
-
-
-a 
-NY 
-
-
-timeg: ag a7 bede 
-
-
-ag,h ——>e 
-
-
-CR 
-=e 
-iy 
-be 
-i 
-
-
-PaaS 
-
-
-s760%, 
-é ue 
-mone 
-
-
-times: a7bc def 
-
-
-a7,€ oe f 
-
-
-timeg: cdefg 
-
-
-de—>g 
-SO ESOS Pee Oe 
-ROSES EE 
-SQ 
-SSE REARS ES Initpoint a9 a9 aq ae apa 
-SERA ic cama Nae "te Sat a 
-RENEURE SEAEELES 
-SSR RRA 
-ALENRAS QCaRBen 
-WRALECE ACRES 
-AAEALET RANECAN 
-TaN 
-SOR RSS Sei 
-WARERENTE aN lnnperseq 
-SOS eo 
-WR B (43,49, a] 
-WO aes 
-WS N AQ (c,a5,a4) 
-(d,b, ag) 
-(e, C, a7) 
-\\ (f, e, d) 
-x (g)- 
-
-
-small bright light 
-
-
-130 
-
-
-13. Exhibit of a Working Model of a Perception-Dissociator 
-
-
-STATEMENT OF OBJECTIVES 
+\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 
+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 mode! 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}
 
-
-Physically alter the world (relative to you): sound disappears; sights and 
+\begin{itemize}
+\item Physically alter the world (relative to you): sound disappears; sights and 
 touches are dissociated; other people unconsciously signal you. 
-Physically, "psychoelectronically" induce conditioned reflexes in your 
-nervous system. Physically break ddwn your sense of time. 
-
 
-[INVITATION] 
+\item Physically, "psychoelectronically" induce conditioned reflexes in your 
+nervous system. Physically break ddwn your sense of time. 
+\end{itemize}
 
+{ \centering
+	\large
+	[\textsc{Invitation}] \par}
 
-Because of your interest in technology and science, you are invited to visit 
-EXHIBIT OF AWORKING MODEL OFA 
-PERCEPTION-DISSOCIATOR 
-Sponsored by (legitimate sponsor) Open continuously from (date) 
-to {date) At (lunar colony or space station) 
+{ \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... The exhibit spotlights the technical interest of the 
+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 
-
+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 
+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 
-
-
-131 
-
-
 spend several hours without a break. There will be absolutely no risk or 
 danger to you if you follow instructions. 
 
 
-TO THE DIRECTOR 
+\section*{\textsc{To the Director}}
 
 
 Exhibit requires two adjacent rooms, on moon or other low-gravity 
@@ -5156,7 +4899,7 @@ 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 
+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 
@@ -5165,7 +4908,7 @@ 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 
+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. 
@@ -5173,34 +4916,6 @@ 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 
-
-
-normal 
-Entrance 
-
-
-Anteroom 
-
-
-Exhibit Hal! 
-
-
-chairs or 
-chooldesks 
-
-
-: 
-
-
-Exit 
-
-
-@: attendant 
-
-
-132 
-
-
 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 
@@ -5208,26 +4923,23 @@ 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. 
 
-
-133 
+\img{dissociatordiag}
 
 
-EXHIBIT OF A WORKING MODEL OF A PERCEPTION—DISSOCIATOR 
-(CONCEIVED BY HENRY FLYNT) 
-
+\clearpage
 
-GUIDEBOOK 
+\textsc{Exhibit of a working model of a perception-dissociator (conceived by Henry Flynt)}
 
 
-READ THIS GUIDEBOOK AS DIRECTED-STRAIGHT THROUGH OR AS 
-OTHERWISE DIRECTED. DON'T LEAF AROUND. 
+\img{guidebook}
 
 
-READ PAGES 2-3 BEFORE YOU GO IN TO SEE THE EXHIBIT. 
+\textsc{Read this guidebook as directed---straight through or as otherwise directed. Don't leaf around.}
 
 
-134 
+\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 
@@ -5247,23 +4959,23 @@ 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: (1) Optical 
-phenomena that are seen--"sights." (2) Solid or massive phenomena that are 
-felt cutaneously--"touches." If the user tries to touch a sight, he may not be 
+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) 
 
-
-135 
-
+\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 
@@ -5278,11 +4990,9 @@ 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
 
-136 
-
-
-DO NOT TALK OR MAKE ANY OTHER UNCALLED-FOR NOISE. 
+\textsc{Do not talk or make any other uncalled-for noise.}
 
 
 Be prepared for the touch of pulling your feet out from under you 
@@ -5290,144 +5000,151 @@ 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}
 
-AVOID ALL TOUCHES (EXCEPT FLOOR AND YOUSELF) UNLESS 
-DIRECTED OTHERWISE. (You have been directed not to resist having your 
-feet pulled out from under you.) INEFFECT, IF YOU BUMP INTOASOLID 
-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 
+\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
 
-137 
-138 
+\img{dissoceqns}
 
+\clearpage
 
-You will now begin the first phase of perception- dissociation by the 
+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 car.'t be 
+important to master the symbolism, because later instructions can't be 
 expressed without it. 
 
+\begin{itemize}
+\item u means you 
 
-uemeans you 
-
-S, \$4, Sp, \$3 mean different sights from the machine 
+\item $s$, $s_1$, $s_2$, $s_3$ mean different sights from the machine 
 
-t, ty, tg, tg mean different touches from the machine 
+\item $t$, $t_1$, $t_2$, $t_3$ mean different touches from the machine 
 
-aAmeans a's eyes are Open or a opens its eyes 
+\item $a_\lambda$ means a's eyes are open or a opens its eyes 
 
-av means a's eyes are shut or a shuts its eyes 
+\item $a_v$ means a's eyes are shut or a shuts its eyes 
 
-a=b means a blows on b's hand 
+\item $a\equiv b$ means a blows on b's hand 
 
-aDb means a pushes b, typically from behind 
-{a holds Guidebook under arm or elsewhere) 
+\item $a\supset b$ means a pushes b, typically from behind 
+(a holds Guidebook under arm or elsewhere) 
 
-albImeans a jumps over b, crossing completely above b (weak gravity 
+\item $a\overbracket{b}$ means a jumps over b, crossing completely above b (weak gravity 
 should make this easy) 
 
-a'b means a rapidly waves both hands in front of and near b's eyes so that 
+\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) 
 
-a means a pulls b's ankles back and up and immediately lets them go, so 
+\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) 
 
-afb means a jumps and falls on b, or a steps on b 
+\item $a\longdivision{b}$ means a jumps and falls on b, or a steps on b 
 
-a.J means a rapidly moves aside 
+\item $a\lrcorner$ means a rapidly moves aside 
 
-{} parentheses around the symbol for an action mean the action will 
+\item $()$ parentheses around the symbol for an action mean the action will 
 probably happen 
 
-A line of action symbols constitutes an instruction. The order of symbols 
-
+\item A line of action symbols constitutes an instruction. The order of symbols 
 indicates the order of events. !f 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.}
 
-YOU MAY ALWAYS TURN BACK TO THESE EXPLANATIONS !F 
-YOU FORGET THEM. 
-
-
-{Keep reading) 
-
-
-Instructions 1-3 apply WHEN YOUR EYES ARE OPEN. 
+(Keep reading) 
 
+\clearpage
 
-1. If you see a sight close its eyes, a heavy touch from the machine 
-may be falling toward you. You must instantly jump aside. s4A S4V ud 
-uA (th) 
+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.
 
-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. 
+\begin{tabular}
+	\begin{tabular}
+		$s_1\lambda$ & $s_{1v}$ \\
+		$u\lambda$ & $(t\longdivision{u})$ \\
+	\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.}
 
-2. tf a sight in front of you jumps over you, a touch may be about to 
+\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}
+			$u\lambda$ & \begin{tabular}
+				$s\overbracket{u}$ \\
+				$(t\overbrace{u})$ \\
+			\end{tabular} & $u\lrcorner$ \\
+		\end{tabular}
 
-uA Sia] ul 
-(t> 
-
-
-3. If a sight waves its hands in front of your open eyes, a touch may 
+\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}
+			$u\lambda$ & \begin{tabular}
+				$s^\infty u$\\
+				$(t\supset u)$ \\
+			\end{tabular} & $u\lrcorner$ \\
+		\end{tabular}
 
-as (120) ut 
-IF THERE ARE ANY SIGHTS, TRY STANDING AROUND AND 
-FOLLOWING THESE INSTRUCTIONS FOR A SHORT WHILE. 
-
+\textsc{If there are any sights, try standing around and following these instructions for a short while.}
 
-4. if you close your eyes, you must keep them closed until a touch 
+\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}
+			$u_v$ & \begin{tabular}
+				$t\overbrace{u}$ \\ \midrule
+				$t\supset u$ \\ midrule
+				$u$ inattentive \\
+			\end{tabular} & $u\lambda$ \\
+		\end{tabular}
 
-cls {A horizontal line between 
-ag Clu eK laa symbols means "or." 
-With it, instr. can be combined. 
-
-
-y inattentive 
-
-
-THE NEXT THREE INSTRUCTIONS TELL YOU WHAT TO DO 
-WHEN YOUR EYES ARE CLOSED. LEARN THEM WELL. 
+\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.}
 
-5. !f you feel a breath blowing on one of your hands, a touch may be 
+\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. 
 
 
-- 
cgit v1.2.3

