The Involuntary, Empathetic Side of Affinity in Art History

I'm really interested in the fact that many art historians have thought hard about what happens when you look at the past and think you're seeing something from now. And I just wondered how much room for the sort of involuntary, the empathetic side of affinity that you felt there was in art historical writing. Whether you tried it or you know, how, whether you'd been able to take yourself to it. That kind of anachronism is also totally essential to the moment where you look at something from the past. It's blurs are different blurs. So I think it's a point of tension, and that tension never goes away.