  The game analogy also serves to undermine approaches to art which are exclusively intentional, material and conventional. First: the subjectivity of an artist cannot be an appropriate interpretive starting point. Grasping what transpires in a player’s consciousness does not reveal the nature of the game being played. Reconstructing the conscious life of an artist, pace Dilthey’s hermeneutics of nacherleben (re-living), may reveal interesting aspects of an artist’s intentions but it does not uncover what informs that subjectivity. Second: as with the game, art is not to be understood by reference to its tools and equipment alone. Art requires materials certainly, and an appreciation of how a specific tool might be used. Yet neither game nor art is constituted by its equipment. Third: comprehending a game or an artwork requires an appreciation of the appropriate rules or conventions. What constitutes fair or foul play depends upon a set of pre-understood principles just as what is esteemed excellent in art requires normative expectancies of appraisal. Yet art’s vitality clearly does not reside in the following of conventions.