In other words, what an audience needs to do, more than anything else (and perhaps to the exclusion of anything else), when they encounter a work of art, is pay attention. Not only to the artwork itself, though that will absorb them at first, but also to what is happening inside of them, to their feelings and their thoughts, as they arise in them in whatever order, and according to whatever rationale, bidden or unbidden, so that they, the audience, might even be able to trace, or to mark, a correspondence between the particularities of the two, the artwork and the mind, the stimulus and that which is stimulated, and in so doing to follow their own hunches and ratiocinations into the recesses of their psyche, which at bottom might be formed not only of the experiences and memories and dreams that have been unique to them, as individual souls, but also of some conglomerate, primordial substance that is common to all humankind.