mind nowadays. For the same distortions of reality that we 
associate with our conventions of abstractly visual perception 
also invaded mathematics, science and the verbal arts of logic 
and poetry. In the past century of non-Euclidean geometries, 
symbolic logics, and symbolist poetry, the same discovery has 
been repeated. That is to say, single-plane lineal, visual, and 
sequential codification of experience is quite conventional and 
limited. It is in danger of being brushed aside today in every 
area of Western experience. We have long been accustomed to 
praising the Greeks for the invention of visual order in 
sculpture, painting, science, as well as in philosophy, literature, 
and politics. But today, having learned how to play with each of 
the senses in isolation, scholars look askance at the Greeks for 
their pusillanimity: “Whatever else the story, as I have pieced it 
together, may tell, it brings out the fact that Greek art and 
Greek geometry were based on the same tactile-muscular