had been easy for them, they would have had no difficulties 
with abstract art; General Motors would not have made a mess 
of motorcar design; and the picture magazine would not be 
having difficulties now with the relationship between features 
and ads. The TV image requires each instant that we “close” 
the spaces in the mesh by a convulsive sensuous participation 
that is profoundly kinetic and tactile, because tactility is the 
interplay of the senses, rather than the isolated contact of skin 
and object.

     To contrast it with the film shot, many directors refer to 
the TV image as one of “low definition,” in the sense that it 
offers little detail and a low degree of information, much like 
the cartoon. A TV close-up provides only as much information 
as a small section of a long-shot on the movie screen. For lack 
of observing so central an aspect of the TV image, the critics of