 In the case of aesthetic object and intention we have direct evidence of each: we discover the nature of the object by looking, listening, reading, etc., and we discover the intention by biographical inquiry, through letters, diaries, workbooks—or, if the artist is alive, by asking him. But also what we learn about the nature of the object itself is indirect evidence of what the artist intended it to be, and what we learn about the artist’s intention is indirect evidence of what the object became. (Aesth: 20)