Taken separately, any of the lines that make up the drawing of the face would "mean" nothing---they would simply be "squiggles," simply examples of different sorts of curves or line segments. Taken together, however, the sense of each resonates with the sense of all the others, answers to the expectations the others set, and through each the "rhythm" of the face is communicated. For the vision that takes them together, they are the compelling presentation of a form.

At the basic level, then, these are all examples of ways in which particular aspects of sense call for a resolution or response---a fulfillment---in another aspect of sense. The body's grasp of one such aspect of sense sets up in that body a felt need for---a propulsion toward---the other. The dots impel me to notice their regular pairing, and the music propels me to dance. In other settings, a doorknob calls me to grasp and turn it, an open highway urges me to drive quickly, and the smooth, repetitive undulations of sand dunes invite me to wander aimlessly. It is in this way that the body senses as a propulsion to fulfillment in further sense that I will call "rhythm." What we can see here is that sense and action are not separable: perception is a kind of acting, a bodily answering to a call that allows something to be realized.

- John Russon, "Bearing Witness to Epiphany: Persons, Things, and the Nature of Erotic Life," p. 14.

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