A crucial phenomenon will now be introduced. When one looks over the diagrams produced for artworks on p28–40, something is immediately striking: The diagrams exhibit a considerable amount of the
of the works. This is a strange phenomenon. The diagrams were intended for one purpose only: to show the
recovered from the shapes. The arrows in the diagrams represent the actions that occurred in the recovered processes. Nevertheless, it is clear that, when one maps out the process-histories, one is mapping out the emotional content of the paintings. In fact, I will now propose the following basic law.