 Presentations need not, and sometimes cannot, be sensually filled, so the resulting aesthetics does not emphasize sense perception, allowing Findlay to speak comfortably of the beauty of mathematical proofs and other abstracta. Likewise, the separation of presentations from emotions, Brentano’s “feelings of love and hate”, undercuts expressionistic aesthetic theories, allowing Findlay to speak coherently about severely abstract works of art that neither convey nor provoke emotion.