Linking the words “Sound, Images and Data” automatically sets up a connection between the three. And certainly that makes sense. Ever since the computer came to dominate our lives, all three have been adapted, augmented, challenged and changed by that ubiquitous device. The result, however, has been a curious flattening out of our world. This paper will address how the digital revolution is smoothing out the textures of our lives and, more so, our art works. It will pose the question, “How did this come to pass?” Since one of the greatest discoveries of the modern world was that the world is round—in fact multi-dimensional— our fascination with virtual worlds seems an odd trajectory. Using examples from the past and today, this paper, nonetheless will advocate for artists to embrace the digital revolution and all that it promises, just as artists have always embraced the advances of their age. What lies its heart, though, is a plea for the haptic not be left out—for not turning our back on the joys of touch in our ever increasing reliance on the eye (and, secondarily, the ear) for interpreting and producing the marvels of our time.