▁this ▁interest ▁is ▁a ▁significant ▁dil ution ▁of ▁the ▁passion ▁with ▁which ▁art ▁was ▁received ▁in ▁the ▁past : ▁“ We ▁are ▁much ▁given ▁to ▁art , ▁but ▁it ▁touch es ▁us ▁light ly … art ▁is ▁so ▁well - rece ived ▁because ▁it ▁has ▁lost ▁its ▁st ing .” ▁ ▁Wind ▁refers ▁frequently ▁to ▁H eg el ▁in ▁isol ating ▁the ▁particular ▁change ▁that ▁art ▁has ▁under g one : ▁“ when ▁art ▁is ▁removed ▁to ▁a ▁zone ▁of ▁safety , ▁it ▁may ▁still ▁remain ▁very ▁good ▁art ▁indeed , ▁and ▁also ▁very ▁popular ▁art , ▁but ▁its ▁effect ▁on ▁our ▁existence ▁will ▁van ish .” ▁ ▁Art ▁has ▁thus , ▁according ▁to ▁Wind , ▁moved ▁to ▁life ' s ▁peri ph ery . ▁Again , ▁Wind ▁notes ▁that ▁this ▁distance ▁car ries ▁with ▁it ▁certain ▁benefits ▁for ▁the ▁scholar ly ▁approach ▁to ▁art ; ▁“ det achment ▁brought ▁fresh ness ▁and ▁bread th , ▁and ▁a ▁freedom ▁from ▁pre jud ice , ▁a ▁willing ness ▁to ▁explore ▁the ▁un famil iar , ▁even ▁the ▁rep uls ive , ▁and ▁to ▁risk ▁new ▁advent ures ▁of ▁sens ibility .” ▁ ▁At ▁the ▁same ▁time , ▁however , ▁art ▁has ▁lost ▁its ▁ability ▁to ▁reson ate ▁at ▁levels ▁deeper ▁than ▁the ▁intellect , ▁to ▁in cite ▁the ▁pass ions . ▁Eng aging ▁with ▁a ▁work ▁of ▁art ▁has ▁become ▁an ▁act ▁of ▁mere ▁observation ▁as ▁opposed ▁to ▁“ v ital ▁participation .” ▁ ▁Art ▁has , ▁for ▁Wind , ▁gained ▁interest ▁at ▁the