The author divides this chapter into two: the first half uses Wittgenstein's remarks to show what happens when critics argue about the value and interpretation of a work of Art. The second shows why, in the light of this, one popular and theoretical account of critical practice cannot possibly be right. The row of dots and the duck-rabbit still share three features which are not present in all cases of seeing-as. With most Gestalt figures there is a finite number of ways in which they can be seen, but this is not necessarily the case. In the case of the dots and the duck-rabbit, the change from one aspect to the next is instantaneous and immediate. Philosophers and critics sometimes tend to model rational argument on inductive and deductive reasoning, sometimes, in their more confident moments, even going so far as to exclude all other enquiry.