  The ambiguity of aesthetic experience is linked directly to the above mentioned theory of the negativity of the expressive means. The work of art functions when it is able to define a coherent perspective onto the world, yet this perspective is mainly defined in the negative, as the trace of iterable and consistent attitudes in the world. Therefore, the spectator is required to translate the traces, caesuras and elisions that negatively defined the new world of expression into positive traits: “… the imagination of the spectator has not only a regulative function but a constitutive one. It does not play: it is called upon to recompose the beautiful object beyond the traces left by the artist” (Sartre 1948a, 33).