ede ▁the ▁observed ▁t endency ▁toward ▁a path y ▁and ▁recover ▁some ▁of ▁art ' s ▁lat ent ▁an arch ic ▁quality . ▁ ▁Wind ▁begins ▁his ▁argument ▁by ▁present ing ▁the ▁long - standing ▁concept ual ▁correlation ▁between ▁art ▁and ▁forces ▁of ▁cha os ▁or ▁dis order , ▁cit ing ▁a ▁line age ▁of ▁think ers ▁and ▁artists ▁including ▁Pl ato , ▁Go ethe , ▁Baud ela ire ▁and ▁Bur ck hardt . ▁ ▁Part icular ▁emphas is ▁is ▁placed ▁on ▁Pl ato ' s ▁dist rust ful ▁view ▁of ▁the ▁imagination ▁as ▁fund ament ally ▁un cont roll able ; ▁Pl ato ▁explicitly ▁denied ▁the ▁true ▁artist ▁a ▁place ▁in ▁his ▁imag ined ▁ideal ▁republic , ▁not ▁for ▁lack ▁of ▁respect ▁for ▁the ▁artist ' s ▁talent ▁but ▁out ▁of ▁fear ▁for ▁his ▁capacity ▁to ▁ups et ▁the ▁social ▁balance . ▁Wind ▁also ▁notes ▁the ▁repeated ▁historical ▁coinc idence ▁– ▁in ▁Greece ▁at ▁Pl ato ' s ▁time ▁and ▁in ▁Italy ▁during ▁the ▁Renaissance ▁– ▁of ▁pe aks ▁in ▁art istic ▁accomplish ment ▁with ▁political ▁tur mo il ▁and ▁break down . ▁ ▁Wind ▁notes , ▁however , ▁that ▁the ▁recent ▁sur plus ▁of ▁art work ▁available ▁to ▁the ▁public ▁eye ▁has ▁to ▁some ▁extent ▁an est het ized ▁the ▁audience ▁to ▁art ▁at ▁large . ▁Wind ▁is ▁quick ▁to ▁acknow ledge ▁that ▁society ▁maintain s ▁a ▁broad ▁and ▁active ▁concern ▁with ▁art ▁as ▁well ▁as ▁increasing ly ▁ref ined ▁fac ult ies ▁with ▁which ▁to ▁interpret ▁such ▁work . ▁Yet