  Following the phenomenological dictum that we should describe our experience of art in a way that is not distorted by the presuppositions we have inherited from the metaphysical tradition is easier said than done, however, for at least two reasons. First, the subject/object dichotomy is so deeply entrenched in our self-understanding that it has come to implicitly structure the fundamental aesthetic approach (as we have seen). Second, it is not immediately clear where (let alone how) we should look to discover art in a non-aesthetic way. Indeed, it now seems natural for us to think that what makes our experience of art objects significant is that such experiences allow us human subjects temporarily to transcend the sphere of our own subjectivity by getting in touch with art objects outside ourselves, because these transcendent experiences can profoundly enrich our subjective experience.