  That the initial familiarity of the anonymous “everyone” (jedermann) with art objects and representational paintings turns out to be a superficial acquaintance that covers over the true depths of the matter at issue should not be surprising.  Almost a decade earlier, when Being and Time famously sought to disclose the ubiquitous and thus usually unnoticed ways in which the anonymous “one [das Man] unfolds its true dictatorship,” Heidegger had already observed that “we read, see, and judge literature and art the way one sees and judges.” So, for example, “everyone knows” that Da Vinci’s  “Mona Lisa” is a great work of art; we think we “know” this even if the painting has never spoken to us at all, or if we have only heard that “they say” the enigmatic hint of a smile on her face is supposed to suggest the numinous presence of God, or the wry smirk of a secret lover, or, more recently, that the sublime elusiveness of her smile finally can be “explained” by neuroscientific findings about the way our brains process different spatial  frequencies.[50] Through this kind of “leveling down” to a publicly-accessible, take-home message,