of sculpture and icon, rather than of picture. The TV image 
offers some three million dots per second to the receiver. From 
these he accepts only a few dozen each instant, from which to 
make an image.

     The film image offers many more millions of data per 
second, and the viewer does not have to make the same 
drastic reduction of items to form his impression. He tends 
instead to accept the full image as a package deal. In contrast, 
the viewer of the TV mosaic, with technical control of the 
image, unconsciously reconfigures the dots into an abstract 
work of art on the pattern of a Seurat or Rouault. If anybody 
were to ask whether all this would change if technology 
stepped up the character of the TV image to movie data level, 
one could only counter by inquiring, “Could we alter a cartoon 
by adding details of perspective and light and shade?” The