 This action or effect (Wirkung) of the artwork is immediate in a way comparable, for instance, to the experience that we have of pain, and is independent of any difference in culture, specialized knowledge of contemplated objects or worldview (historical, cultural or other). Stumpf acknowledges that sensations can act aesthetically on a subject without any conceptual thought or representation. However, the full aesthetic sentiment is forced upon us when and only if sensations and combinations of sensations “are entangled in an act of relational thinking.” That is to say, “an aesthetic affect presupposes a judgment on a state of affairs, on a fact.” (1899, p. 8) The feeling of pleasure is immediately linked to an activity as sensory pleasure to sensations, but it is not yet an emotion in the strict sense. For there to be an emotion in the experience of enjoyment (Entzücken) of a work of art, the relations intuited in a unitary and immediate way must become an object of consciousness, and therefore an intentional object. Hence the dual origin (or source) of aesthetic experience: the first is what he calls the fullness (Fülle) of the formal relations among the parts of a true work of art, while the second is derived from the properties of the object or, more precisely, the state of affairs. (Stumpf, 1899, p 8; 1924, p 54) The first source is phenomenological and resides in the formal relations which are given directly to consciousness. The second source is more complex in that it presupposes the processing of the phenomena and sensory data through judgment. (Stumpf, 1926, p. 2–3) These two sources, however, form a unitary content that can only be distinguished by abstraction.