I think many of you have read [Edward] Hall’s Hidden Dimension, which simply refers to the fact that much of what is completely hidden is that which ordinarily surrounds us, with which we live day by day. We deliberately refuse to perceive this, in order to feel more comfortable. …., He has fascinating illustrations of this principle. One that first comes to mind is the Arab world, where he discovered that good taste in personal relations is at a distance of eight inches. Unless you can smell the other person every moment you see him and speak to him, he considers you hostile. Good taste there means smelling the person you speak with at all times, not just looking at him and not just handling him, but smelling. Hall calls [the ideal proximate distance for relations] “the hidden dimension” and I think there is a distance which is ideal for every artifact and view. There is a distance that will reveal it, that will turn you on and make you feel that this is an exciting breakthrough. This distance is not the same for any two people or any two artifacts. But it is possible to discover it by experiment. What you’re really saying is: How can we arrange a museum or an art gallery so it gives people that sensation of power, of tremendous new discovery, of insight and perception? I think it is possible. That’s what Harley [Parker] was trying to do with his juxtaposition, trying to rub one thing against the other to release the sense of discovery.