  Despite what one might expect from a phenomenologist like Heidegger, his objection is not that the aesthetic view mischaracterizes the way we late moderns ordinarily experience “art.” On the contrary, Heidegger clearly thinks that what he characterizes as “the increasingly aesthetic fundamental position taken toward art as a whole” (N1 88/GA43 103) does accurately describe the experiences of art that take place—when they do take place—in museums, art galleries, and installations; in performance spaces, theaters, and movie houses; in cathedrals, coliseums, and other ruins; in cityscapes as well as landscapes; in concert halls, music clubs, and comic books; even when we listen to our speakers, headphones, ear-buds; and, sometimes (who could credibly deny it?), when we sit in front of our television screens, computer monitors, iPhones, and so on. The experiences we have of what rises to the level of “art” in all such settings are indeed “aesthetic” experiences, that is, particularly intense or meaningful experiences that make us feel more alive; and, if we think about it, we do tend to approach these art objects as expressions of the life of the artists who created them. The aesthetic view correctly characterizes our typical experience of “art” in the contemporary world—and for Heidegger that is part of the  problem.[18]