discontinuous, skew, and nonlineal, like the tactual TV image. To the sense of touch, all things are sudden, counter, original, spare, strange. The "Pied Beauty" of G.M. Hopkins is a catalogue of the notes of the sense of touch. The poem is a manifesto of the nonvisual, and like Cezanne or Seurat, or Rouault it provides an indispensable approach to understanding TV. The nonvisual mosaic structures of modern art, like those of modern physics and electric-information patterns, permit little detachment. The mosaic form of the TV image demands participation and involvement in depth of the whole being, as does the sense of touch. Literacy, in contrast, had, by extending the visual power to the uniform organization of time and space, psychically and socially, conferred the power of detachment and noninvolvement. The visual sense when extended by phonetic literacy fosters the analytic habit of perceiving the single facet in the life of forms. The visual power enables us to isolate the single incident in time and space, as in representational art. In visual representation of a person or an object, a single phase or moment or aspect is separated from the multitude of known and felt phases, moments and aspects of the person or object. By contrast, iconographic art uses the eye as we use our hand in seeking to create an inclusive image, made up of many moments, phases, and aspects of the person or thing. Thus the iconic mode is not visual representation, nor the specialization of visual stress as denned by viewing from a single position. The tactual mode of perceiving is sudden but not specialist. It is total, synesthetic, involving all the senses. Pervaded by the mosaic TV image, the TV child encounters the world in a spirit antithetic to literacy. The TV image, that is to say, even more than the icon, is an extension of the sense of touch. Where it encounters a literate culture, it necessarily thickens the sense-mix, transforming fragmented and specialist extensions into a seamless web of experience. Such transformation is, of course, a "disaster" for a