  The overall argument is not that game or artwork cannot be reduced to intention, material or convention but rather that each of these elements comes into their own when taken up within the playing of the game or in the practice which is art. It is the playing that draws spectator, player, intention, equipment and convention into the one event. This promotes an interactive view of art as a communicative event. It lends a dialogical dimension to art. An artwork involves more than one voice as, indeed, the word inter-pretation implies. Furthermore, the conception of art as an event requires a different ontological structure to those standard accounts of aesthetic experience grounded in subjectivity alone. An artwork is not an object completely independent of the spectator yet somehow given over to the spectator for his or her personal enjoyment. To the contrary, the game analogy suggests that the act of spectatorship contributes to enhancing the being of the artwork by bringing what is at play within it to fuller realisation. The spectator just as much as the artist plays a crucial role in developing the subject-matters that art activates. The aesthetic spectator is swept up by her experience of art, absorbed in its play and potentially transformed by that which spectatorship helps constitute. Though Gadamer’s argument distances itself from traditional subject-object paradigms, it does retain certain features of Kant’s aesthetics.