and empires, is an extension, via letters, of the visual sense. 
The brick wall is not a mosaic form , and neither is the mosaic 
form a visual structure. The mosaic can be seen  as dancing 
can, but is not structured  visually; nor is it an extension of the 
visual power. For the mosaic is not uniform, continuous, or 
repetitive. It is discontinuous, skew, and nonlineal, like the 
tactual TV image. To the sense of touch, all things are sudden, 
counter, original, spare, strange. The “Pied Beauty” of G. M. 
Hopkins is a catalogue of the notes of the sense of touch. The 
poem is a manifesto of the nonvisual, and like Cézanne or 
Seurat or Rouault it provides an indispensable approach to 
understanding TV. The nonvisual mosaic structures of modern 
art, like those of modern physics and electric-information 
patterns, permit little detachment. The mosaic form of the TV 
image demands participation and involvement in depth of the 
whole being, as does the sense of touch. Literacy, in contrast,