 After the publication of Art as Experience there emerged a long chain of both criticism and defense. Eliseo Vivas (1937) argued that Dewey holds two theories about the emotions’ role in aesthetic experience, one that the esthetic object arouses emotion in the spectator, and the other that the content of meaning of art, objectively speaking, is emotion. But, he argued, experimental aesthetics has shown that emotion is an accidental consequence of aesthetic apprehension, and so should not be included in its definition. The same aesthetic object can arouse different emotional reactions in different spectators. Some trained persons in music even deny that adequate aesthetic experience involves emotion. Dewey also has not given an explanation of the means by which the object expresses emotion. Vivas himself defined aesthetic experience in terms of rapt attention involving apprehension of the object’s immanent meanings.