Talk about Art

ion, or is one reading into the picture as one might into summer clouds? Similar issues arise in analytic confirmation where works may tease with a mix of encouraging and contrary signs. In this sophisticated era, the puzzle becomes compounded once over. Who knows but that the artist designed his or her work to offer just that disconcerting hint of pattern? This would not matter if talk about art reflected the ambiguity of grounds. But neither critics nor laypeople deal much in qualified claims. Somehow, where evidence is tentative, statement shifts toward the absolute. Habits of discourse are needed that acknowledge rather than hide the uncertainties of confirmation. So far, the discussion has stressed difficulties that could be met better simply by trying. But sometimes failure of confirmation may reflect perceptual limitations remediable only by extended experience. The This content downloaded from 157.55.39.221 on Sun, 06 Nov 2016 04:24:16 UTC All use subject to http://about.jstor.org/terms