 In addition to his work on the ontology of works of art and their values, Ingarden also engaged in directly phenomenological investigations into the nature of our experience of works of art of various kinds. For example, he examines our experience of literature in The Cognition of the Literary Work of Art, of music in The Work of Music and the Problem of its Identity, and of aesthetic experience more generally (including experience of sculpture) in “Aesthetic Experience and Aesthetic Object”. In each case he is concerned not only to offer a detailed analysis of the development of the relevant aesthetic experience (including its development over time), but also to contrast such aesthetic experiences with cases of ordinary sense perception, undertaken in what he calls a ’practical’ or an ‘investigating attitude’ (1961, 295).   