 The ontology argued for begins with a distinction between physical objects and perceptual objects. In speaking of a thing being six feet by six feet in size and at rest, we’re speaking of a physical object; in speaking of a thing being dynamic and frightening, we’re speaking of a perceptual object. Perceptual objects are the objects we perceive, objects “some of whose qualities, at least, are open to direct sensory awareness” (Aesth: 31). Aesthetic objects are a subset of perceptual objects. This doesn’t necessarily mean that aesthetic objects aren’t physical objects, however. Aesthetic objects might be other than physical objects—the conceptual distinction might mark a real distinction—or they might be physical objects—the conceptual distinction, though somewhat misleadingly couched in terms of objects, might simply mark “two aspects of the same” thing (Aesth: 33). At first indifferent as to which alternative is opted for—Beardsley mentions that he doesn’t “see that it makes much difference which terminology [that of objects or aspects] is chosen” (ibid.)—he then proceeds to develop an ontology that stresses objects more than aspects.