 Accordingly, realism in pictorial representations is reduced to a matter of habit or familiarity, in contrast not only to a resemblance account of realism but to accounts in terms of amount or accuracy of conveyed information as well. Realistic pictures can include inaccuracies—indeed, those used in games of the type “find the n mistakes in the picture” include inaccuracies by definition (Goodman 1984, 127). And the amount of information is not altered, for instance, by switching from the realistic mode of representation of conventional perspective to the non-realistic mode of, say, reverse perspective (Goodman 1976, 35). Goodman’s conventionalism is pervasive and uncompromising: even the rules of perspective in the representation of space, he claims, are conventionally established, and provide only a relative—i.e., relative to culturally established conceptual schemata—standard of fidelity (1976, 10–19). Realistic paintings, drawings, etc. are those that are painted or drawn in a familiar style, i.e., according to a familiar system of correlation. To put it metaphorically, for Goodman, you always need a key to read a picture—sometimes the key is more ready at hand, part of one’s cultural background, other times one must find it and learn how to use it.