Like love, surrender is a State of high tension and concentration, an undifferentiated State in which "anything can happen'; and its catch is unforeseeable. The painter, for instance, who surrenders as he paints may find his catch to be a painting; or the insight that he is not really a painter but rather a carpenter; or the production of a scientific paper, and innumerable other things. If we think of the case where the catch is a painting, we realize that the artist is a less unconditional surrenderer than the ordinary man. The reason is that, unlike the ordinary man, he surrenders as a maker, as one who makes a work of art; and making injects an element of differentiation into his surrender; it puts a qualification on its unconditionality, at the very least because he has to work with his media that he cannot suspend.¹ We shall recall this at certain points of our discussion of aesthetic experience.