  Whereas Kant attributes a non-purposive rationality to the aesthetic attitude, Gadamer attributes it to the playful process of art practice itself. Both art and the game share a to-and-fro movement not tied to any specific goal other than to fulfil themselves for their own sake (TM 103): no one knows how a game will end and no one knows to what end an artwork works (Lawn 2006, 91). However, what is clear is that it is what occurs when the artwork or the game is in-play that matters. Often contrary to their own willing and doing, the spectator is taken over by a substantial and consequential event that transcends the boundaries of everyday consciousness and which has no purpose other than to bring something forth.