picture of product to the producer image of process. The corporate image of process includes the consumer in the producer role as well. This powerful new trend in ads toward the iconic image has greatly weakened the position of the magazine industry in general and the picture magazines in particular. Magazine features have long employed the pictorial treatment of themes and news. Side by side with these magazine features that present shots and fragmentary points of view, there are the new massive iconic ads with their compressed images that include producer and consumer, seller and society in a single image. The ads make the features seem pale, weak, and anemic. The features belong to the old pictorial world that preceded TV mosaic imagery. It is the powerful mosaic and iconic thrust in our experience since TV that explains the paradox of the upsurge of Time and News week and similar magazines. These magazines present the news in a compressed mosaic form that is a real parallel to the ad world. Mosaic news is neither narrative, nor point of view, nor explanation, nor comment. It is a corporate image in depth of the community in action and invites maximal participation in the social process. Ads seem to work on the very advanced principle that a small pellet or pattern in a noisy, redundant barrage of repetition will gradually assert itself. Ads push the principle of noise all the way to the plateau of persuasion. They are quite in accord with the procedures of brain-washing. This depth principle of onslaught on the unconscious may be the reason why. Many people have expressed uneasiness about the advertising enterprise in our time. To put the matter abruptly, the advertising industry is a crude attempt to extend the principles of automation to every aspect of society. Ideally, advertising aims at the goal of a programmed harmony among all human impulses and aspirations and endeavors. Using handicraft methods, it stretches out toward the ultimate electronic goal of a collective