 Presentations, however, can be clear or obscure, and Findlay makes clarity a necessary condition of aesthetic quality. (This includes being clear about obscure things). The poignancy requirement is more unusual, and involves what Findlay describes as an “arrest” in our normally turbulent mental life. Some perspicuous presentations bore us, but the poignant ones captivate us: we are rapt, ecstatic, in contemplating them, and our mind does not wish to move on to any successive intentional act. Since aesthetic appreciation requires such ecstatic arrests, we often suffer “aesthetic impotence”, returning to an adored object and finding ourselves unmoved by it. Such impotence may involve a past overestimation of the value of the object. But more often it involves an inability to recover youthful levels of concentration. One might consider that Findlay’s doctrine of “arrest” before works of art might explain “museum fatigue”, where walking one hall in a museum can prove as tiring as hiking one mile in the woods.