They are powerless on their own right; existing and behaving for the look alone. .
Given: 1) The Waterfall, 2) The Illuminating Gas is an object specifically designed for the museum spectator. It starts with a solid wooden door nailed shut in a frame of bricks. Two holes are drilled for the spectator to view a perspective illusion trapped beyond the door. This scene is foreground by an androgynous body with legs spread; seemingly asking the spectator to enter. The miniature painted landscape in the background helps to create a false depth, again asking the viewer to enter; but the door is permanently closed and entry is impossible.
The illusion of Given is based on Renaissance perspective, which was further justified by the photograph. It is the goal of perspective to create a false depth of space; convincing the viewer that the flat body, which usually exists in front of the miniature background, is in fact real. Real space and depth allows a body to move. In real three dimensional space doors can be opened and advances can be made. But the door of Given can not be opened. The place of the spectator is fixed in relationship to the body beyond the door. Like a photograph the body of Given is for ever frozen in time. Leaving the spectator pleased with a look, but frustrated by the impossibility of entry.
Consider the painting that Madeline marvels in the Legion of Honor. It consists of a woman before a miniature forest scene. It uses the rules of perspective to, like Given, offer an illusion of depth and encourage entry; but again the door is locked. The painting is flat and Madeline can not enter, so she attempts to simulate. Returning to Scottie's point-of-view (the only perspective the audience is offered) striking similarities between the woman in the painting and Madeline are noticed. Madeline twists her hair the way the painted woman does and carries a bouquet of flowers identical to the flat flowers of the canvas.