our own being and can be withdrawn from circulation like any other technology if we decide that it is virulent. But amputation of such extensions of our physical being calls for as much knowledge and skill as are prerequisite to any other physical amputation. If the phonetic alphabet was a technical means of severing the spoken word from its aspects of sound and gesture, the photograph and its development in the movie restored gesture to the human technology of recording experience. In fact, the snapshot of arrested human postures by photography directed more attention to physical and psychic posture than ever before. The age of the photograph has become the age of gesture and mime and dance, as no other age has ever been. Freud and Jung built their observations on the interpretation of the languages of both individual and collective postures and gestures with respect to dreams and to the ordinary acts of everyday life. The physical and psychic gestalts, or "still" shots, with which they worked were much owing to the posture world revealed by the photograph. The photograph is just as useful for collective, as for individual, postures and gestures, whereas written and printed language is biased toward the private and individual posture. Thus, the traditional figures of rhetoric were individual postures of mind of the private speaker in relation to an audience, whereas myth and Jungian archetypes are collective postures of the mind with which the written form could not cope, any more than it could command mime and gesture. Moreover, that the photograph is quite versatile in revealing and arresting posture and structure wherever it is used, occurs in countless examples, such as the analysis of bird-flight. It was the photograph that revealed the secret of bird-flight and enabled man to take off. The photo, in arresting bird-flight, showed that it was based on a principle of wing fixity. Wing movement was seen to be for propulsion, not for flight. Perhaps the great revolution produced by photograph was in