  Margolis (1958) explicitly endorses one implication of his hypothesis regarding the way of being or Seinsweise of the work of art. In the absence of the right sort of attention, the work ceases to exist, even though the physical system remains intact. Yet the same work can return to existence when the same sort of imaginative attention is directed upon the physical system that constitutes the supervenience base of the artwork, thereby “reviving” the correlative aesthetic design.