representation was developed in which the attempt was 
     made to give unity and perspective to the picture and to 
     represent the atmosphere. . . . 
          When in the field of science a great deal of progress 
     has been made and most of the pertinent variables are 
     known, a new problem may most readily be handled by 
     trying to fit it into the existing framework. When, 
     however, the framework is uncertain and the number of 
     variables is large the mosaic approach is much the easier.

The mosaic approach is not only “much the easier” in the study 
of the simultaneous which is the auditory field; it is the only 
relevant approach. For the “two-dimensional” mosaic or 
painting is the mode in which there is muting of the visual as 
such, in order that there may be maximal interplay among all of 
the senses. Such was the painterly strategy “since Cézanne,” to