In the end, if creators must dare, audiences must attend. John Berger’s Ways of Seeing (1972) reminds us that perception is an active practice; slow looking and generous listening prepare us to be astonished. To “owe” astonishment is to meet art with curiosity before verdict, to let a work change the questions we ask. When makers and witnesses both honor their roles, Blake’s imperative becomes a compact: make what is truest, and we will meet it with the wonder it deserves. [...]
