(A rough analogy can be made with the way a singer phrases a multiplicity of notes within a single breath). Many factors work to make the spectator perceive a series of movements as a phrase.
One of the tenets of magic indeed, one employed and exploited by some of its foremost practitioners is that spectators cannot perceive correctly the miraculous effects they have witnessed.
Now you start thinking about, 'O.K., if I do like this, the spectator will perceive it like that,' and you get a mess in your head.
Although not always explicit in his writings, Schlegel constantly stresses the idea that in the contemplation of a work of art, the spectator must still perceive the craftedness of the whole; i.e. the difference between reality and illusion.
And Freud argues that we can't even imagine our deaths: "It is indeed impossible to imagine our own death; and whenever we attempt to do so we can perceive that we are in fact still present as spectators".
The spectator or user must move around or within the object to perceive any significant percentage of it, much less the whole.
"Foreigners perceive that.
This set – the set of Rosol's life – was studded with aces and menacing ground-strokes that left Nadal an impotent spectator often muttering to himself and at the umpire regarding a perceived misdemeanour by his opponent.
These factors determine the way in which the phrase is perceived by, and the effect that it produces on, the spectator.
Few if any spectators were left blasé, and some went home dumbstruck with rapture, while others lobbed back at the invader what they perceived as a blast of barbarity, tagging the look "Hiroshima's revenge".
