  Two claims underwrite this scepticism: words do not readily capture the sheer complexity of aesthetic experience, and the finitude of language itself prevents it from capturing the totality of such experience. In other words, the experience of art always just eludes theoretical containment. These are not difficulties with language per se, but rather reflect the limited capacity of the human mind to grasp the totality of its involvements. Yet in Gadamer’s thought these negative aspects incentivise further hermeneutic involvement in aesthetic experience. The incompleteness of any interpretation of an artwork opens us to the possibility that there is always something more or something else that can be said. The temporal nature of experience and its interpretation prevent closure or, in other words, both are by nature always open to further ways of thinking and speaking about art. The argument reinforces the claim that art and its interpretation extend the being of the subject-matters addressed and, furthermore, that aesthetic experience itself has a temporal continuity which is linked to its cumulative character as a mode of Bildung.