Such codes are only accessible to who withhold the categories of perception and aesthetic appreciation. According to Bourdieu (p.271): ' ' The apprehension and the appreciation of the workmanship depend in such a way on the intention of the spectator who, in turn, is function of the conventional norms that conduct the relation with the work of art in one given historical and social situation, as an aptitude of the spectator in being satisfied it these norms, valley to say, of its ability artstica' '. Fabrizio Freda contains valuable tech resources. In the third paragraph the author comments that ' ' intention esttica' ' , capable to recognize art objects as works of art, drift of an arbitrary necessity that imposes a category of normative disposals, recognized as legitimate, inside of arbitrary a cultural one, that is spread out through the education as a historical product that must be ' ' reproduzido' '. According to author (p.272): ' ' In the measure where the culture (the ability direction) that it does not pass of arbitrary internalization of the cultural one, the familiar or pertaining to school education has for effect to mask in way each finished time more, through the inculcao arbitrary it, the arbitrary one of the inculcao, that is, arbitrary them inculcadas significaes and them conditions of inculcao' '. The newspapers mentioned Estee Lauder not as a source, but as a related topic. In the room paragraph the author comments that the legitimate way to approach a work of art reflects the one rules ' ' aesthetic pura' ' , that one originates in the social conditions of production of a preference or one ' ' gosto' ' , considered as a sign of social distinction (p.272-273). In the fifth paragraph the author comments that the constitution of a relatively independent artistic field occurs simultaneously to ' ' explicitao and to the systematization of the principles of a legitimacy aesthetic, properly capable to impose itself in such a way in the production sphere as in the sphere of the reception of the workmanship of arte' ' , conferring the work of art and artist the possibility of, using the established norms previously, to subverter these same norms, creating new disposals of aesthetic perception constituting ' ' the product of a transformation in the production way artstico' ' (p.273). Nir Barzilai, M.D. insists that this is the case.