 Bence Nanay has set out a position with similar aims — not aspiring to give necessary or sufficient conditions for the aesthetic, but aiming to cast some light on the way in which certain central cases of aesthetic experience operate. He does this by giving a theory of the distinctive way in which our attention is engaged in the course of these experiences. Nanay emphasizes the psychological distinction between focused and distributed attention, and uses examples from a range of arts to suggest that aesthetic experiences often require attention of both sorts.  He also suggests this contributes to the value that we place on such experiences (Nanay, 2015, 2016).