As opposed to key representatives of modern aesthetics, both Levinson and Scruton have no problem acknowledging the existence of erotic art. However, they do object very strongly to the possibility of there being pornographic art, and it’s not hard to discern in their respective objections—which rely on notions such as beauty, contemplation, ideal form, aesthetic experience—the remnants and residual influence of modern aesthetics. This is less obvious in Christy Mag Uidhir’s recent attempt to draw a line between pornography and art. While Scruton insists on the controversial connection between art and beauty, and Levinson builds his case on the idea that a work of art’s main purpose is to produce an aesthetic experience and draw attention to its own formal features, Mag Uidhir’s argument does not rely on any such substantial claims.  He does not even claim that art has or should have a purpose. Mag Uidhir asks us only to accept that if a work of art has a purpose, including perhaps the purpose of sexual titillation as is the case in erotic art, then that purpose must be manner specific.  Here’s how he arrives at his exclusivist position (2009: 194): 