Renaissance infinity, not only by convergence -- perspective and vanishing point -- but by bringing into play for the first time in human history the factor of exact repeatability. Print gave to men the concept of indefinite repetition so necessary to the mathematical concept of infinity. The same Gutenberg fact of uniform, continuous, and indefinitely repeatable bits inspired also the related concept of the infinitesimal calculus, by which it became possible to translate any kind of tricky space into the straight, the flat, the uniform, and the "rational." This concept of infinity was not imposed upon us by logic. It was the gift of Gutenberg. So, also, later on, was the industrial assembly line. The power to translate knowledge into mechanical production by the breaking up of any process into fragmented aspects to be placed in a lineal sequence of movable, yet uniform, parts was the formal essence of the printing press. This amazing technique of spatial analysis duplicating itself at once, by a kind of echo, invaded the world of number and touch. Here, then, is merely one familiar, if unrecognized, instance of the power of one medium to translate itself into another medium. Since all media are extensions of our own bodies and senses, and since we habitually translate one sense into another in our own experience, it need not surprise us that our extended senses or technologies should repeat the process of translation and assimilation of one form into another. This process may well be inseparable from the character of touch, and from the abrasively interfaced action of surfaces, whether in chemistry or crowds or technologies. The mysterious need of crowds to grow and to reach out, equally characteristic of large accumulations of wealth, can be understood if money and numbers are, indeed, technologies that extend the power of touch and the grasp of the hand. For numbers, whether of people or of digits, and units of money would seem to possess the same factual magic for seizing and incorporating