In its general sense the category of production posits a model of cultural communication in which object and subject are reciprocally connected. Writing of the historical development of art, for example, Marx suggested that art objects were never simple, passive artefacts to be consumed by an already existing and static public, but elements in a process of cultural production which both succeed in creating a public for the object and an aesthetic appreciation of it: "Production thus not only creates an object for a subject, but also a subject for an object." Art, in other words, produces the very taste by which it is then enjoyed and evaluated: "The pianist stimulates production either by making us more active and lively individuals or … by arousing a new need whose satisfaction requires greater effort from directly material production" (Marx and Engels, 1976, p.196). And in The German Ideology Marx and Engels, writing of the development of Italian art, argued that "Raphael, as much as any other artist was determined by the technical advances in art made before him, by the organisation of society and the division of labour … Whether an individual like Raphael succeeds in developing his talent depends wholly on demand, which in turn depends on the division of labour and the conditions of human culture resulting from it" (Marx and Engels, 1965, pp.430–1).