is ever bolder measurements that have revealed to us the 
     calculable conditions to which every transformation of 
     matter is subject according to the force it calls into play.

     Back in the visual space in abstraction from the other 
senses, the Renaissance and eighteenth-century world “seemed 
to rest, static and fragmentable on the three axes of its 
geometry. Now it is a casting from a single mould.” It is not 
here a question of values but rather of the need to understand 
how the achievements of the Renaissance were associated with 
the separation of functions and senses. But the discovery of 
the visual techniques of separation and static arrest in a 
traditional milieu of audile-tactile culture was of immense 
fruitfulness. The same techniques used in a world that has 
been homogenized by these techniques may have much less 
advantage. De Chardin says (p. 221):