The gutenberg galaxy 133 in favour of mosaic field. And to this end he resorts to two-dimensional painting as a means of revealing the resonant depth of acoustic space. Here are his own words (p. 4): It is possible to distinguish two forms of approach to a problem. One, which may be called the theoretical approach, is to formulate the problem in relation to what is already known, to make additions or extensions on the basis of accepted principles, and then to proceed to test these hypotheses experimentally. Another, which may be called the mosaic approach, takes each problem for itself with little reference to the field in which it lies, and seeks to discover relations and principles that hold within the circumscribed area. Von Bekesy then proceeds to introduce his two paintings: A close analogy to these two approaches may be found in the field of art. In the period between the eleventh and seventeenth centuries the Arabs and the Persians developed a high mastery of the arts of description…. Later, during the Renaissance, a new form of 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 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 oursenses. 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 towards the separation of the senses, of functions, of