among the senses and the media that seems so natural to 
Eisenstein or René Clair. For the Russian, especially, it is easy to 
approach any situation structurally, which is to say, 
sculpturally. To Eisenstein, the overwhelming fact of film was 
that it is an “act of juxtaposition.” But to a culture in an 
extreme reach of typographic conditioning, the juxtaposition 
must be one of uniform and connected characters and 
qualities. There must be no leaps from the unique space of the 
tea kettle to the unique space of the kitten or the boot. If such 
objects appear, they must be levelled off by some continuous 
narrative, or be “contained” in some uniform pictorial space. All 
that Salvador Dali had to do to create a furor was to allow the 
chest of drawers or the grand piano to exist in its own space 
against some Sahara or Alpine backdrop. Merely by releasing 
objects from the uniform continuous space of typography we 
got modern art and poetry. We can measure the psychic