  Beneath Wittgenstein's examples, as developed throughout these lectures, lies another interest (which presses its way to the surface and becomes explicit on occasion): he is eager to show the significance of making connections in our perception and understanding of art works—connections between the style of a poet and that of a composer (e.g. Keller and Brahms), between one musical theme and another, between one expressive facial depiction and another, between one period of an artist's work and another. Such connections—we might, reviving a term from first-generation Wittgensteinians, refer to the kind of work undertaken to identify and articulate such connections as “connective analysis”—are, for Wittgenstein, at the heart of aesthetic experience and aesthetic contemplation. And they again are of the kind that reductive causal explanation would systematically miss. In attempting to describe someone's feelings, could we do better than to imitate the way the person actually said the phrase we found emotionally revelatory, Wittgenstein pointedly asks? The disorientation we would feel in trying to describe the person's feeling with subtlety and precision without any possibility of imitating his precise expressive utterance—“the way he said it” – shows how very far the dualistic or subtractive conceptual template is from our human experience, our natural history.