 As noted at the end of  Section 2.2,  Kant’s account of judgments of beauty has been criticized on the grounds that the argument for their universal validity, that is the Deduction of Pure Aesthetic Judgments, is unsuccessful. Criticisms have also been raised against various aspects of Kant’s characterization of judgments of beauty in the Analytic of the Beautiful. Objections have been raised in particular to Kant’s view that judgments of beauty are disinterested, and to his supposed commitment to aesthetic formalism (the view that all that matters for aesthetic appreciation is the abstract formal pattern manifested by the object, that is, the way in which its elements are interrelated in space and/or time). For discussion of the questions of disinterestedness and formalism, see Guyer (1979 [1997: chs. 5 and 6]), and Allison (2001: chs. 4 and 5); Zuckert offers a sympathetic reading of Kant’s formalism (2007a: 182–189). Kant’s formalism was particularly influential, via the influence of Hanslick, in musical theory; for discussion see Kivy (2009: ch. 2). Discussions of this topic often note that although the Analytic of the Beautiful puts forward a formalist view, Kant’s treatment of aesthetic ideas (discussed in  Section 2.6)  is more congenial to an expressivist view of art.