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The problem is one of representation in a particular respect rather than in another. "Why should not the painter be able to imitate the colors of any object if the maker of wax images manages this trick so well? ''8 Similarly, Henri Pirenne argues that successful illusion in painting depends on peripheral awareness of the plane surface. Only when the perspectivic illusion of the painting is so perfect that it makes the painting appear three-dimensional, does skew viewing produce a distortion of appearance.

The second answer is given by the capacity of contrasts to engender complexity by aggregation through time. Purity and simplicity can only be in certain respects, frequently heightening the rich intensity of contrasts in other respects, at other levels. Here the capacity of contrasts to enter rich and complex aggregates is essential again. Here also, history and tradition are essential components of complex contrasts, providing a background against which minimalist works inhabit more complex contrasts in proportion to their purity and simplicity.

W. , New York, Free Press, 1978. Page 4 one experience is the central movement in Whitehead's theory, and it inevitably engenders contrasts: the synthesis or unification of a multiplicity in one prehension or feeling. This notion of prehension is very general in Whitehead's theory: for the moment we may neglect it and consider his position, with some simplification, to be that the conjunction of diverse components is a contrast, that a contrast is comprised of a synthesis of one and many in which multiplicity is preserved, in which synthesis does not supersede differences.

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