Yes, this chapter does have some good new things in it. That picture with Dali is now twenty years old this month. A lot has happened since then, in the areas we were discussing at the time and things we didn't even imagine then. He would have found the internet quite fascinating.
With respect to Eadweard, he did not seem to mind at all that people used his animations for purposes of study of anatomy, especially of bodies in motion. Ordinarily he did not identify his subjects by name, and it was only a few exercises that he did himself. But he published his complete work with no regrets whatsoever. There were four volumes of his photographic work, three of which were devoted to human subjects, and they were considered classics from the very beginning. The four-volume hard-cover set was published by Dover about ten years ago, and I was able to get it at a substantial discount. By the way, Muybridge was considered somewhat eccentric even then--his name, for example, is a made-up distorted version of plain old Edward.
The latitude-longitude switch is definitely connected with the glove switch that can take place in a face of the rotating hypercube. To understand what is happening in the torus, you really have to think hard about the distortions that occur when you project pairs of latitude circles stereographically into the plane as the transparent sphere rotates. You get a pair of concentric circles only for a special position, and similarly you seldom get two equal sized circles next to one another. Those are slices of what happens two different ways in four-space. Maybe we should look at the films again? That might be a good thing to do on the last class before the spring break!