As a last remark, it seems appropriate to highlight the connection between interpretive openness and what might be called the "omissive" aesthetic, the poignancy of leaving out, of letting some things remain unsaid, undepicted, unshown, which is quite possibly a characteristic of all artwork. Good artwork, moreover, seems to have it more than most. Leaving things out opens up interpretation. The less left unsaid, the more clumsy, telegraphed, artless the work. The other extreme, except in rare cases (some abstract and conceptual art), is likely equally insufficient for the purposes of art. Enough content and structure must be given to prompt, and delimit within manageable bounds, an audience's engagement. Having to read between the lines, bringing, as an appreciator, something to the work, and doing some work oneself, is an irreplaceable part of an ideal, perhaps of any real, artistic transaction. Work that allows enough space for this, that elicits rewarding intellectual contemplation in tandem with deep emotional response, is valuable as such, precisely for that reason. By leaving the metaphysics, hence the interpretation, open as it does, Twin Peaks exhibits the omissive in art and affords such aesthetic rewards.
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