 Goodman places more weight on a third objection to resemblance theories of depiction. A theory of this kind, he maintains, would need to specify the visible aspect or aspects of its object that a picture imitates or copies. But every object can be seen in many ways, depending on the experience, interests, and attitudes of the viewer: “the object before me is a man, a swarm of atoms, a complex of cells, a fiddler, a friend, a fool and much more” (1968: 8). Since the artist cannot copy all of these aspects at once, all of the ways the object is or looks, one might assume that her aim is to strip away the varnish of perceptual habit, prejudice or interpretation, and capture the object as seen “under aseptic conditions by the free and innocent eye”. But, Goodman claims, following Ernst Gombrich (1960), “there is no innocent eye”: the idea that we can access some raw visual data by means of “purification rites or by methodical disinterpretation” is a myth. Both “the way we see and the way we depict depends upon and varies with experience, practice, interests, and attitudes” (Goodman 1968: 10).