paint as if you held, rather than as if you saw, objects.

A theory of cultural change is impossible without knowledge of 
the changing sense ratios effected by various externalizations 
of our senses.

*     It is very much worth dwelling on this matter, since we shall 
see that from the invention of the alphabet there has been a 
continuous drive in the Western world toward the separation of 
the senses, of functions, of operations, of states emotional 
and political, as well as of tasks—a fragmentation which 
terminated, thought Durkheim, in the anomie of the nineteenth 
century. The paradox presented by Professor von Békésy is that 
the two-dimensional mosaic is, in fact, a multidimensional 
world of interstructural resonance. It is the three-dimensional 
world of pictorial space that is, indeed, an abstract illusion built