From 201400d58ee98c13ba1661aa3871c3b56d5c9f52 Mon Sep 17 00:00:00 2001
From: grr <grr@lo2.org>
Date: Thu, 2 May 2024 21:32:35 -0400
Subject: breakout 'new modality' essays

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+\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)
+
-- 
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