 Each of these suggestions hold that artistic evaluations are assessments of the artistic achievements that the work has made. And we might propose that aesthetic evaluations of the very same works (and much else in the world as well) could turn out to be, as Paul Ziff has argued, the registration of preferences for the experiences provided by the work (or other object) (Ziff 1979 [1984]). This analysis already seems to be adopted by Stecker (2006) in what he calls the “broad” analysis of aesthetic pleasure, which he endorses.