 On Bosanquet’s view, the aesthetic attitude is “contemplative”—it is a “preoccupation with a pleasant feeling, embodied in an object which can be contemplated” (Three Lectures, p. 10). But the work of art is also something in which the spectator finds his or her feelings “expressed”. Bosanquet writes that when we “imaginatively contemplate” an art object, we are “able […] to live in it as an embodiment of our feeling” (Three Lectures, p. 30); there is no ultimate distinction between art and the feelings it evokes in us. Moreover, the appreciation of a work of art requires understanding it as a whole or as a unity—and so it must be organisational. This organisational character refers not only to elements or features within the art object itself, but to the environment in which the work comes to be. Further, Bosanquet argued that art (and aesthetic consciousness) have their basis only in a community. Art, then, is social and public—so far as both the artist and the spectator are epistemically dependent on the communities in which they live. 