[v1] queen of the pdf

00_contributions/FINAL/layout/00_header.tex

@@ -24,7 +24,7 @@
 \usepackage{afterpage}
 \usepackage{paralist}
 \usepackage{caption}
-\usepackage[hyphens]{url}
+\usepackage{xurl}
 \usepackage{ltablex}
 \usepackage{vcell}
 \usepackage{float} 

00_contributions/FINAL/layout/01_introduction.tex

@@ -105,7 +105,7 @@ In the same chapter there is also a table that describes the different maps that
 \end{tabularx}
 
 \noindent
-Figure: NLTK's linguistic objects, From \emph{Natural Language Processing with Python: Analyzing Text with the Natural Language Toolkit}, “Table 3.1: Linguistic Objects as Mappings from Keys to Values”\footnote{\url{https://www.nltk.org/book/ch05.html\#tab-linguistic-objects}}
+Figure: NLTK's linguistic objects, From \emph{Natural Language Processing with Python: Analyzing Text with the Natural Language Toolkit}, “Table 3.1: Linguistic Objects as Mappings from Keys to Values”\footnote{\url{https://www.nltk.org/book/ch05.html\#tab-linguistic-objects}}\\
 
 \noindent
 NLTK uses the metaphor of mapping to form indexical relations between truth and map. The use of the word mapping was something that caught our attention -- it is this indexical relation that needs questioning and study. Considering that language maps generate a new kind of linguistic matter, one that is processed and transformed through code, how does that mutate language? How can these mutations be studied? What kinds of maps can be made to map language differently? Can mapping be done based on:

00_contributions/FINAL/layout/03_cengiz.tex

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 \clearpage{\thispagestyle{empty}\cleardoublepage}

00_contributions/FINAL/layout/04_ren.tex

@@ -13,6 +13,8 @@
 
 % CHAPTER PAGE
 
+\enlargethispage{-1\baselineskip}
+
 \begin{tcolorbox}[boxrule=2pt, arc=24mm, colframe=black, colback=white, spread inwards=-16mm, spread outwards=-8mm, left=8mm, top=16pt, bottom=28pt]
 \chapter[Turnabouts and deadnames: shapeshifting trans* and disabled vernaculars Ren Loren Britton]{Turnabouts and\\deadnames:shapeshifting\\trans* and disabled\\vernaculars\\\\Ren Loren Britton}
 \end{tcolorbox}

00_contributions/FINAL/layout/05_rosemary-interview.tex

@@ -95,7 +95,7 @@ General Strike (245)\\
 \noindent
 Some of these are terms that occur too many times or are too broad, such as “Occupation,” to be a useful way of filtering an item, but some such as “Rent Strike” are specific enough to be a useful means of linking up documents. We thought that this category of “Tactics” was a useful one to reorientate the collection as something that can be used as resources for current struggles to integrate tactics of the past that might have been forgotten.
 
-\subsubsection{{\raggedright In another conversation we had, you mentioned you worked with Natural Language Processing (NLP) tools for this archive and earlier you mentioned that all the documents have been OCRed. So we are wondering how NLP had been applied to the documents? What influenced the conceptualisation of those operations?}}
+\subsubsection{In another conversation we had, you mentioned you worked \\with Natural Language Processing (NLP) tools for this archive\\and earlier you mentioned that all the documents have been\\OCRed. So we are wondering how NLP had been applied to\\the documents? What influenced the conceptualisation of\\those operations?}
 
 \newpage
 \noindent
@@ -126,7 +126,7 @@ One of the ways of sorting the result of the different NLP scripts was to create
 	}
 \end{figure}
 
-\subsubsection{You've already mentioned that Leftovers came together as a collaboration with 0x2620. Are there more collaborators involved in the making of this archive?}
+\subsubsection{You've already mentioned that Leftovers came together as a\\collaboration with 0x2620. Are there more collaborators involved\\in the making of this archive?}
 \newpage
 \noindent
 Leftovers was initiated by myself at MayDay Rooms, and was developed in collaboration with Jan Gerber from 0x2620. Anthony Iles from \emph{Mute Magazine} joined the working group in 2020 and has been very active in finding material and inputting metadata. He also helped produce our first online exhibition based on the digital archive called \emph{Print Subversion in the Wapping Dispute} which can be found here \url{https://exhibitions.maydayrooms.org/wapping}.We got a small grant to further develop our interface in 2020, and for this we worked with Gemma Copeland and Robbie Blundell from Evening Class, a design collective in London, to design the front end. You can see the work-in-progress version here, \url{https://dev.leftove.rs}.

makebook.sh

@@ -9,6 +9,7 @@ texts=(
 	"${folder}00_preface.tex"	
 	"${folder}01_introduction.tex"	
 	"${folder}02_clara.tex"
+	"${folder}03_cengiz.tex" 	
 	"${folder}04_ren.tex"
 	"${folder}05_rosemary-interview.tex"	
 	"${folder}06_michael.tex"	

pdfs/00_preface.tex

@@ -24,7 +24,7 @@
 \usepackage{afterpage}
 \usepackage{paralist}
 \usepackage{caption}
-\usepackage[hyphens]{url}
+\usepackage{xurl}
 \usepackage{ltablex}
 \usepackage{vcell}
 \usepackage{float} 
@@ -72,7 +72,7 @@
 \newcommand{\chaptersignthree}{‡}
 \newcommand{\chaptersignfour}{§}
 \newcommand{\chaptersignfive}{¶}
-\newcommand{\chaptersignsix}{¶}
+\newcommand{\chaptersignsix}{‖}
 
 % FONT-FACES
 
@@ -194,15 +194,15 @@ tabsize=3
 \section{\nohyphens{Preface: Everyday\\Technology Press}}
 
 \noindent
-What you are holding in your hands or browsing on your screen is the first book published by the Everyday Technology Press, an imprint run by the Rotterdam-based collective space Varia. Everyday technology is not just a moniker for the tools and devices we use on a daily basis, but a formula that identifies a perspective on technical artefacts and a programmatic goal. Everyday technology means that a sewing machine is no less important than a laptop, that a seamstress's work is by no means less meaningful than that of a computer scientist. Focusing on everyday technology means questioning the hierarchies that surround technical objects and therefore the valorisation of skills needed to design or use them. Everyday technology means also reconsidering the hegemony of high tech: with our publications, we try to show that low-tech approaches can be complex, inventive, and joyful.
+What you are holding in your hands or browsing on your screen is the first book published by the Everyday Technology Press, an imprint run by the Rotterdam-based collective space Varia. Everyday technology is not just a moniker for the tools and devices we use on a daily basis, but a formula that identifies a perspective on technical artefacts and a programmatic goal. Everyday technology means that a sewing machine is no less important than a laptop, that a seamstress’s work is by no means less meaningful than that of a computer scientist. Focusing on everyday technology means questioning the hierarchies that surround technical objects and therefore the valorisation of skills needed to design or use them. Everyday technology means also reconsidering the hegemony of high tech: with our publications, we try to show that low-tech approaches can be complex, inventive, and joyful.
 
 \looseness=13
 \clubpenalty10000
 \fontdimen3\font=0.2em
-At Everyday Technology Press, we believe that not only experts should have access and decisive power in regards to how things should work. This is why our publications show and document convivial tools; tools that guarantee a certain degree of autonomy to their users. We understand autonomy in Ivan Illich’s terms, namely, the possibility for each and everyone to use a tool in order to realise their own intentions and create meaning by leaving a mark, however small, in the world. \footnote{ Ivan Illich, \emph{Tools for conviviality} (New York: Harper and Row,1973).} We strive to include multiple and entangled perspectives, needs, and aspirations that are at play when it comes to technology. We think of theory as a practice and practice as a form of knowledge production. True to this belief, in our publications we complement analyses with instructions and code; tutorials and methods with essays. Here, the \emph{know what} goes hand in hand with the \emph{know how}.
+At Everyday Technology Press, we believe that not only experts should have access and decisive power in regards to how things should work. This is why our publications show and document convivial tools; tools that guarantee a certain degree of autonomy to their users. We understand autonomy in Ivan Illich’s terms, namely, the possibility for each and everyone to use a tool in order to realise their own intentions and create meaning by leaving a mark, however small, in the world.\footnote{ Ivan Illich, \emph{Tools for conviviality} (New York: Harper and Row,1973).} We strive to include multiple and entangled perspectives, needs, and aspirations that are at play when it comes to technology. We think of theory as a practice and practice as a form of knowledge production. True to this belief, in our publications we complement analyses with instructions and code; tutorials and methods with essays. Here, the \emph{know what} goes hand in hand with the \emph{know how}.
 
 \fontdimen3\font=0.1em
-Through its engagement with vernacular languages, \emph{VLTK} suggests another meaning of everyday technology. Technology is often not recognised as such. Language, for example, is something that many take for granted and deem and call “natural.” However, a variety of technical procedures, rules, and constraints operate on top of its roots, which are, according to Jorge Luis Borges, “irrational and magical.” \footnote{Jorge Luis Borges, \emph{El otro, el mismo} (Buenos Aires: Emecé, 2005).} This is how language becomes a technology. The technologisation of language tends to be a singular, reductive operation that produces a language with a capital “L” as a technology with a capital “T.” \emph{VLTK} counterbalances that: this book does not only show that a wealth of linguistic modes of being exist, but also that they can thrive, given enough space and the proper amount of attention.
+Through its engagement with vernacular languages, \emph{VLTK} suggests another meaning of everyday technology. Technology is often not recognised as such. Language, for example, is something that many take for granted and deem and call “natural.” However, a variety of technical procedures, rules, and constraints operate on top of its roots, which are, according to Jorge Luis Borges, “irrational and magical.”\footnote{Jorge Luis Borges, \emph{El otro, el mismo} (Buenos Aires: Emecé, 2005).} This is how language becomes a technology. The technologisation of language tends to be a singular, reductive operation that produces a language with a capital “L” as a technology with a capital “T.” \emph{VLTK} counterbalances that: this book does not only show that a wealth of linguistic modes of being exist, but also that they can thrive, given enough space and the proper amount of attention.
 \\\\
 \noindent
 Silvio Lorusso

pdfs/01_introduction.tex

@@ -24,7 +24,7 @@
 \usepackage{afterpage}
 \usepackage{paralist}
 \usepackage{caption}
-\usepackage[hyphens]{url}
+\usepackage{xurl}
 \usepackage{ltablex}
 \usepackage{vcell}
 \usepackage{float} 
@@ -72,7 +72,7 @@
 \newcommand{\chaptersignthree}{‡}
 \newcommand{\chaptersignfour}{§}
 \newcommand{\chaptersignfive}{¶}
-\newcommand{\chaptersignsix}{¶}
+\newcommand{\chaptersignsix}{‖}
 
 % FONT-FACES
 
@@ -295,7 +295,7 @@ In the same chapter there is also a table that describes the different maps that
 \end{tabularx}
 
 \noindent
-Figure: NLTK's linguistic objects, From \emph{Natural Language Processing with Python: Analyzing Text with the Natural Language Toolkit}, “Table 3.1: Linguistic Objects as Mappings from Keys to Values”\footnote{\url{https://www.nltk.org/book/ch05.html\#tab-linguistic-objects}}
+Figure: NLTK's linguistic objects, From \emph{Natural Language Processing with Python: Analyzing Text with the Natural Language Toolkit}, “Table 3.1: Linguistic Objects as Mappings from Keys to Values”\footnote{\url{https://www.nltk.org/book/ch05.html\#tab-linguistic-objects}}\\
 
 \noindent
 NLTK uses the metaphor of mapping to form indexical relations between truth and map. The use of the word mapping was something that caught our attention -- it is this indexical relation that needs questioning and study. Considering that language maps generate a new kind of linguistic matter, one that is processed and transformed through code, how does that mutate language? How can these mutations be studied? What kinds of maps can be made to map language differently? Can mapping be done based on:

pdfs/02_clara.tex

@@ -24,7 +24,7 @@
 \usepackage{afterpage}
 \usepackage{paralist}
 \usepackage{caption}
-\usepackage[hyphens]{url}
+\usepackage{xurl}
 \usepackage{ltablex}
 \usepackage{vcell}
 \usepackage{float} 
@@ -72,7 +72,7 @@
 \newcommand{\chaptersignthree}{‡}
 \newcommand{\chaptersignfour}{§}
 \newcommand{\chaptersignfive}{¶}
-\newcommand{\chaptersignsix}{¶}
+\newcommand{\chaptersignsix}{‖}
 
 % FONT-FACES
 
@@ -187,7 +187,7 @@ tabsize=3
 % \tableofcontents{\thispagestyle{empty}}
 % \clearpage{\thispagestyle{empty}\cleardoublepage}
 
-\setcounter{page}{1}
+\setcounter{page}{19}
 % --- 	PART 2			---
 % --- 	CLARA BALAGUER 	---
 

pdfs/03_cengiz.tex

@@ -0,0 +1,287 @@
+\documentclass[a5, 10pt, twosides]{book}
+\usepackage[utf8]{inputenc}
+\usepackage{fontspec}
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+\usepackage{tikz}
+\usepackage{fancyhdr} 
+\usepackage{fontenc}[T1]
+\usepackage[raggedright]{titlesec}
+\usepackage{tocloft}
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+\usepackage{setspace}
+\usepackage{afterpage}
+\usepackage{listings}
+\usepackage{array} % for fixed width tables
+\usepackage{tabularx} % for multiple alignments in cells
+\usepackage[hang]{footmisc}
+% \usepackage[a4,cross,pdftex,center]{crop} % cropmarks
+\usepackage{perpage}
+\usepackage{setspace}
+\usepackage{hyphenat}
+\usepackage{scrextend}
+\usepackage{xcolor}
+\usepackage{tcolorbox}
+\usepackage{afterpage}
+\usepackage{paralist}
+\usepackage{caption}
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+\usepackage{ltablex}
+\usepackage{vcell}
+\usepackage{float} 
+\usepackage{calc}
+\usepackage{etoolbox}
+\usepackage[vskip=12pt,indentfirst=false, leftmargin=2em, rightmargin=2em]{quoting}
+\usepackage{multicol}
+
+% CONFIGURE PACKAGES
+
+\usetikzlibrary{positioning}
+\RequirePackage{fix-cm}
+
+\tcbuselibrary{skins}
+
+\setlength\LTpre{12pt}
+\setlength\LTpost{12pt}
+
+\makeatletter
+\g@addto@macro{\newpage}{\nointerlineskip}
+\makeatother
+
+
+% CONFIGURE PACKAGES > SIZE
+
+\geometry{a5paper,left=24mm,top=12mm,bottom=20mm,right=16mm}
+
+% COMMANDS
+
+\let\endchangemargin=\endlist 
+\setlength{\footnotemargin}{1em} % footnote space
+
+% VARIABLES
+
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+\newcommand{\chapterlineheight}{24pt}
+\newcommand{\imgwidth}{\textwidth}
+\newcommand{\imgdir}{../00_contributions/FINAL/}
+\newcommand{\ballsize}{7mm}
+
+% VARIABLES > CHAPTER SIGNS
+
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+
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+\setmonofont[Scale=0.95]{Courier}
+
+\newfontfamily\sectionfont{Times}[ItalicFont    ={* Italic},
+                    BoldFont      ={* Bold},
+                    BoldItalicFont={* Bold Italic}]
+
+% PAGE STYLES
+
+% All pages
+
+\pagestyle{fancy}
+\fancyhf{}
+\fancyhead[LE,RO]{}
+\fancyhead[RE,LO]{}
+\fancyfoot[CE,CO]{}
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+\renewcommand{\footrulewidth}{0pt}
+
+% Chapter pages
+
+\fancypagestyle{plain}{
+
+	\fancyhf{} 
+	\fancyfoot[LE,RO]{\fontsize{\chapterfontsize}{\chapterlineheight}\selectfont\bfseries\thepage}
+	\fancyfoot[LO,RE]{\fontsize{\chapterfontsize}{\chapterlineheight}\selectfont\bfseries\thechapter}
+	\renewcommand{\headrulewidth}{0pt}
+	\renewcommand{\footrulewidth}{0pt}
+	\renewcommand{\fontruleskip}{0pt}
+	\renewcommand{\headruleskip}{0pt}
+}
+
+% COVER
+\usetikzlibrary{positioning,fadings,through}
+\definecolor{left} {HTML}{000000}
+\title{''Titre du livre''}
+\author{''Nom de l'auteur''}
+\date{''date de fin de rédaction''} 
+
+% CONTENTS
+\renewcommand{\contentsname}{}
+\renewcommand\cftchapfont{\bfseries}
+\renewcommand\cftchappagefont{\bfseries}
+
+% CHAPTER
+\renewcommand{\chaptername}{}
+\renewcommand{\thechapter}{\fnsymbol{chapter}}
+\titleformat{\chapter}[block]{\bfseries\fontsize{\chapterfontsize}{\chapterlineheight}\selectfont}{\chaptername}{0pt}{}
+\titlespacing{\chapter}{0pt}{0pt}{0pt}
+
+% SECTION
+\renewcommand{\thesection}{\arabic{section}}
+\titleformat{\section}[block]{\sectionfont\fontsize{\chapterfontsize}{\chapterlineheight}\selectfont}{}{0pt}{}
+\titlespacing{\section}{2em}{12pt}{8pt}{}
+
+% SUBSECTION
+\renewcommand{\thesubsection}{\arabic{subsection}}
+\titleformat{\subsection}[block]{\bfseries\fontsize{10pt
+}{12pt}\selectfont}{}{0pt}{}
+\titlespacing{\subsection}{0pt}{12pt}{12pt}{}
+
+% SUBSUBSECTION
+\renewcommand{\thesubsubsection}{\arabic{subsubsection}}
+\titleformat{\subsubsection}[block]{\sectionfont\fontsize{11pt}{12pt}\selectfont}{}{0pt}{}
+\titlespacing{\subsubsection}{24pt}{12pt}{8pt}{}
+
+% PARAGRAPHS
+\setlength{\parindent}{2em}
+\setlength{\parskip}{0pt}
+\renewcommand{\baselinestretch}{1.0}
+
+% CODE STYLE
+\lstset{
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+belowskip=3mm,
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+}
+
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+
+
+% FOOTNOTE
+
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+
+\setlength{\baselineskip}{12pt}
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+\urlstyle{sf}
+\tcbset{enhanced}
+\nointerlineskip
+
+
+% CONTENTS
+% \addtocontents{toc}{\protect\setcounter{tocdepth}{0}}
+% \vspace*{-8\baselineskip}
+% \tableofcontents{\thispagestyle{empty}}
+% \clearpage{\thispagestyle{empty}\cleardoublepage}
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pdfs/04_ren.tex

@@ -24,7 +24,7 @@
 \usepackage{afterpage}
 \usepackage{paralist}
 \usepackage{caption}
-\usepackage[hyphens]{url}
+\usepackage{xurl}
 \usepackage{ltablex}
 \usepackage{vcell}
 \usepackage{float} 
@@ -72,7 +72,7 @@
 \newcommand{\chaptersignthree}{‡}
 \newcommand{\chaptersignfour}{§}
 \newcommand{\chaptersignfive}{¶}
-\newcommand{\chaptersignsix}{¶}
+\newcommand{\chaptersignsix}{‖}
 
 % FONT-FACES
 
@@ -187,7 +187,7 @@ tabsize=3
 % \tableofcontents{\thispagestyle{empty}}
 % \clearpage{\thispagestyle{empty}\cleardoublepage}
 
-\setcounter{page}{39}
+\setcounter{page}{71}
 % --- 	PART 4			---
 % --- 	REN LOREN BRITTON 	---
 
@@ -199,8 +199,12 @@ tabsize=3
 \fancyfoot[RO]{\thepage}
 \fancyfoot[LE]{\thepage}
 
+\setcounter{chapter}{3}
+
 % CHAPTER PAGE
 
+\enlargethispage{-1\baselineskip}
+
 \begin{tcolorbox}[boxrule=2pt, arc=24mm, colframe=black, colback=white, spread inwards=-16mm, spread outwards=-8mm, left=8mm, top=16pt, bottom=28pt]
 \chapter[Turnabouts and deadnames: shapeshifting trans* and disabled vernaculars Ren Loren Britton]{Turnabouts and\\deadnames:shapeshifting\\trans* and disabled\\vernaculars\\\\Ren Loren Britton}
 \end{tcolorbox}

pdfs/05_rosemary-interview.tex

@@ -24,7 +24,7 @@
 \usepackage{afterpage}
 \usepackage{paralist}
 \usepackage{caption}
-\usepackage[hyphens]{url}
+\usepackage{xurl}
 \usepackage{ltablex}
 \usepackage{vcell}
 \usepackage{float} 
@@ -72,7 +72,7 @@
 \newcommand{\chaptersignthree}{‡}
 \newcommand{\chaptersignfour}{§}
 \newcommand{\chaptersignfive}{¶}
-\newcommand{\chaptersignsix}{¶}
+\newcommand{\chaptersignsix}{‖}
 
 % FONT-FACES
 
@@ -187,7 +187,7 @@ tabsize=3
 % \tableofcontents{\thispagestyle{empty}}
 % \clearpage{\thispagestyle{empty}\cleardoublepage}
 
-\setcounter{page}{49}
+\setcounter{page}{81}
 % --- 	PART 5			---
 % --- 	INTERVIEW 		---
 
@@ -198,6 +198,8 @@ tabsize=3
 \fancyfoot[RO]{\thepage}
 \fancyfoot[LE]{\thepage}
 
+\setcounter{chapter}{4}
+
 \enlargethispage{-1\baselineskip}
 
 \begin{tcolorbox}[boxrule=2pt, arc=24mm, colframe=black, colback=white, spread inwards=-16mm, spread outwards=-8mm, left=8mm, top=17pt, bottom=27pt]
@@ -283,7 +285,7 @@ General Strike (245)\\
 \noindent
 Some of these are terms that occur too many times or are too broad, such as “Occupation,” to be a useful way of filtering an item, but some such as “Rent Strike” are specific enough to be a useful means of linking up documents. We thought that this category of “Tactics” was a useful one to reorientate the collection as something that can be used as resources for current struggles to integrate tactics of the past that might have been forgotten.
 
-\subsubsection{{\raggedright In another conversation we had, you mentioned you worked with Natural Language Processing (NLP) tools for this archive and earlier you mentioned that all the documents have been OCRed. So we are wondering how NLP had been applied to the documents? What influenced the conceptualisation of those operations?}}
+\subsubsection{In another conversation we had, you mentioned you worked \\with Natural Language Processing (NLP) tools for this archive\\and earlier you mentioned that all the documents have been\\OCRed. So we are wondering how NLP had been applied to\\the documents? What influenced the conceptualisation of\\those operations?}
 
 \newpage
 \noindent
@@ -314,7 +316,7 @@ One of the ways of sorting the result of the different NLP scripts was to create
 	}
 \end{figure}
 
-\subsubsection{You've already mentioned that Leftovers came together as a collaboration with 0x2620. Are there more collaborators involved in the making of this archive?}
+\subsubsection{You've already mentioned that Leftovers came together as a\\collaboration with 0x2620. Are there more collaborators involved\\in the making of this archive?}
 \newpage
 \noindent
 Leftovers was initiated by myself at MayDay Rooms, and was developed in collaboration with Jan Gerber from 0x2620. Anthony Iles from \emph{Mute Magazine} joined the working group in 2020 and has been very active in finding material and inputting metadata. He also helped produce our first online exhibition based on the digital archive called \emph{Print Subversion in the Wapping Dispute} which can be found here \url{https://exhibitions.maydayrooms.org/wapping}.We got a small grant to further develop our interface in 2020, and for this we worked with Gemma Copeland and Robbie Blundell from Evening Class, a design collective in London, to design the front end. You can see the work-in-progress version here, \url{https://dev.leftove.rs}.

pdfs/06_michael.tex

@@ -24,7 +24,7 @@
 \usepackage{afterpage}
 \usepackage{paralist}
 \usepackage{caption}
-\usepackage[hyphens]{url}
+\usepackage{xurl}
 \usepackage{ltablex}
 \usepackage{vcell}
 \usepackage{float} 
@@ -72,7 +72,7 @@
 \newcommand{\chaptersignthree}{‡}
 \newcommand{\chaptersignfour}{§}
 \newcommand{\chaptersignfive}{¶}
-\newcommand{\chaptersignsix}{¶}
+\newcommand{\chaptersignsix}{‖}
 
 % FONT-FACES
 
@@ -187,7 +187,7 @@ tabsize=3
 % \tableofcontents{\thispagestyle{empty}}
 % \clearpage{\thispagestyle{empty}\cleardoublepage}
 
-\setcounter{page}{1}
+\setcounter{page}{93}
 % --- 	PART 6			---
 % --- 	MICHAEL 	---
 

pdfs/07_biographies.tex

@@ -24,7 +24,7 @@
 \usepackage{afterpage}
 \usepackage{paralist}
 \usepackage{caption}
-\usepackage[hyphens]{url}
+\usepackage{xurl}
 \usepackage{ltablex}
 \usepackage{vcell}
 \usepackage{float} 
@@ -72,7 +72,7 @@
 \newcommand{\chaptersignthree}{‡}
 \newcommand{\chaptersignfour}{§}
 \newcommand{\chaptersignfive}{¶}
-\newcommand{\chaptersignsix}{¶}
+\newcommand{\chaptersignsix}{‖}
 
 % FONT-FACES
 
@@ -187,7 +187,7 @@ tabsize=3
 % \tableofcontents{\thispagestyle{empty}}
 % \clearpage{\thispagestyle{empty}\cleardoublepage}
 
-\setcounter{page}{79}
+\setcounter{page}{111}
 \fancyfoot[RO]{}
 \fancyfoot[LE]{}