Essential McLuhan 200 The age-old conflict between the Eastern integrity of the interval and the Western integrity of the object is being resolved in oral culture. Pound’s Treatise on Harmony states: A sound of any pitch, or any combination of such sounds, may be followed by a sound of any other pitch, or any combination of such sounds, providing the time interval between them is properly gauged; and this is true for any series of sounds, chords or arpeggios. This is a physical fact in color and in design as well. A superimposed metronomie time or space pattern is intolerable today in verse, in town planning or in music. Bartok sought new musical order in the rhythms and patterns of folk speech. The interval is the means of epiphany or revelation. It is the release which Hopkins called Sprung Rhythm. It is the instrument of anological intuition of Being. It is the dynamic symmetry of tensions among proportions which yields the Golden Section in space or time. The Munsell Color Sphere does not take us into the inclusive auditory world its form implies. The spectator is left outside with one facet of color at a time. True color experience derives from involvement of all the senses at once—synesthesia. Man lives in such a sphere of jazzed up rag-time sensuous be-bop. To bring order into this jangled sphere man must find its center. A valid color sphere would have the spectator in the center. Sensation of pure color is only possible through the acoustics of the word. In actual visual experience of color, perception changes constantly because of factors of background and eye fatigue. Therefore symmetrical balance and harmony are possible only when man is at the center of the sphere.