  Yet as usual, Ingarden is concerned to account for the role of consciousness in constituting aesthetic values and the variations in aesthetic judgments without embracing a subjectivism that would deny that there is any better or worse in aesthetic judgment, each being a mere report of the pleasure experienced by the one judging. Such subjectivism is to be avoided by noting first, that some concretizations are better suited to the work’s demands than others, more faithful, or better able to bring out the potential values in the work. A careful interpreter and evaluator can, through repeated contact with the work, come increasingly close to separating out idiosyncratic elements of her interpretations from what is proper to the work. Secondly, the aesthetic properties of the resulting concretization are not arbitrary inventions of the viewer, nor are they based on the pleasure she derives from the experience. Instead, their appearance simply requires a competent viewer to observe the work’s neutral and artistic values in an aesthetic attitude. Thus here, as elsewhere, Ingarden’s goal is ultimately to account for the legitimate role of consciousness in constituting many of the objects and properties experienced by us, while also avoiding a pure subjectivism or universal social constructivism by acknowledging the role of an independent ‘real’ world in founding the cultural objects and value properties we so often concern ourselves with in daily life.