 For such metaphysical and epistemological approach to include the arts amongst the means to construct worlds, one needs only to add that versions of the world include non-verbal versions and non-literal versions as well. Art forms that do not use language, such as painting or music or architecture, can offer ways of perceiving and understanding the world—indeed ways to construct a world—allowing us, for instance, to see and hear and perceive things in new and refreshing ways. Works of art can participate in worldmaking precisely because they have symbolic functions (1978a, 102). As linguistic labels categorize the world (and new, unusual labels as “grue” and “bleen” categorize it differently), so do pictorial labels, for instance, categorize it in a number of ways (and some of them indeed in new ways). Visiting a museum can change our perception of the world, making us notice new aspects of reality and allowing us to encounter a different reality. Literal denotation, metaphorical denotation, as well as exemplification and expression, can all contribute to the construction of a world. Cervantes’s Don Quixote literally denotes no one, yet metaphorically it denotes many of us. And artworks, by exemplifying shapes, colors, emotional patterns, etc., as well as by expressing what they literally do not possess, can bring about a reorganization of the world of ordinary experience. This is not just true in the sense that seeing a painting may change our way of seeing the world. Works of art may have effects that go beyond their medium, and hence music may affect seeing, painting affect hearing, and so on. Especially in “these days of experimentation with the combination of media in the performing arts” […] music, pictures, and dance “all interpenetrate in making a world” (1978a, 106).