Half a century ago, Stern discussed this attribute of an artistic object and called it apparency. While art is not limited to this single end, he felt that one of its two basic functions was "to create images which by clarity and harmony of form fulfill the need for vividly comprehensible appearance." In his mind, this was an essential first step toward the expression of inner meaning.
The personal experience of most of us will testify to this persistence of an illusory image long after its inadequacy is conceptually realized. We stare into the jungle and see only the sunlight on the green leaves, but a warning noise tells us that an animal is hidden there. The observer then learns to interpret the scene by singling out "give-away" clues and by reweighting previous signals. The camouflaged animal may now be picked up by the reflection of its eyes. Finally by repeated experience the entire pattern of perception is changed, and the observer need no longer consciously search for give-aways, or add new data to an old framework. They have achieved an image which will operate successfully in the new situation, seeming natural and right. Quite suddenly the hidden animal appears among the leaves, "as plain as day."
Everything points to the conclusion that the phrase 'the language of art' is more than a loose metaphor, that even to describe the visible world in images we need a developed system of schemata.
Watts observes that elements of the natural world – clouds, foam on water, the stars, human beings – are not messes, though the nature of their order remains inscrutable, and Watts doesn’t try to pin down its precise nature. Mess seems to be somehow a property perceptible only in the presence of human artifacts. Is this the result of some kind of aesthetic original sin on the part of humans, uncanny beings severed from the holiness of Nature? I hope not. “Humans are bad” is a boring answer.