 If all this is intuitive, why are the object and the content of a presentation conflated? Twardowski maintains that the reason why content and object are often identified comes, among others, from a linguistic ambiguity: both the content and the object are said to be ‘presented’ in a presentation (§4). Twardowski offers an analysis of the ambiguity of the term ‘presented’ by appealing to the linguistic distinction between modifying and attributive (or determining) adjectives, and he illustrates it with an analogy between the act of presenting an object and the act of painting a landscape. When a painter paints a landscape, she also paints a painting: so we can say that the painting and the landscape are both painted. But in this situation ‘painted landscape’ can have two very different meanings. In the first meaning of ‘painted’, a painted landscape is a landscape; in the second meaning of ‘painted’ a painted landscape is not a landscape, but a painting (like in Magritte's La trahison des images (1928–9): it is a painted pipe we are looking at, not a pipe). In the first case, ‘painted’ is used in an attributive sense (the landscape is a portion of nature that happens to be painted by a painter in a painting); in the second case ‘painted’ is used in a modifying sense (that in which, looking at the painting in a museum, someone may say: this is a landscape!). The painted landscape in the modifying sense is a painting, and thus identical with the painting painted in the attributive sense. Analogously, in an act of presentation, the object can be, like the painted landscape, said to be ‘presented’ in two senses. The object presented in the modifying sense is identical with the content presented in the attributive sense: it is dependent on the act of presentation, and it is what we mean by ‘the object immanent in the act’; the object presented in the attributive sense is the object of the presentation, what happens to be presented in a presentation, and what is independent of the act of presentation.