Abstract
In this article I develop the ontological category of Ideal Possibilities to account for the special existence of the aesthetic object. In Roman Ingarden's aesthetics, he makes a distinction between the work of art and the aesthetic object because the aesthetic object is dependent on the individual observer, whereas the work of art remains the same for all observers. But if the aesthetic object is only a part of the observer's experience, it would make aesthetics a study for psychology.
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