 Hence, in creating the work of art, the rock gardener may speak of “listening to the rocks,” the ikebana master of “working with the flowers.” In his theory of poetics, Motoori Norinaga stressed the importance of the audience as part of the field of kokoro, claiming that an unread poem is not yet a poem. In the classical Western tradition, creativity was sometimes construed as the artist’s being inspired by a muse, in effect a double agency. Yet, both agencies—artist and muse—were discrete individuals. How would a philosophy of artistic creativity be different if it is one with no discrete individuals, but instead a complex process of an auto-generative field? That would seem to be a provocative question for comparative aesthetics. (See entry on   Japanese Aesthetics.)