Feminist aesthetics first emerged in the 1970s and refers not to a particular aesthetic or style but to perspectives that question assumptions in art and aesthetics concerning gender-role stereotypes, or gender. Feminist aesthetics has a relationship to philosophy. The historical philosophical views of what beauty, the arts, and sensory experiences are, relate to the idea of aesthetics. Aesthetics looks at styles of production. In particular, feminists argue that despite seeming neutral or inclusive, the way people think about art and aesthetics is influenced by gender roles. Feminist aesthetics is a tool for analyzing how art is understood using gendered issues. A person's gender identity affects the ways in which they perceive art and aesthetics because of their subject position and that perception is influenced by power. The ways in which people see art is also influenced by social values such as class and race. One's subject position in life changes the way art is perceived because of people's different knowledge's about life and experiences. In the way that feminist history unsettles traditional history, feminist aesthetics challenge philosophies of beauty, the arts and sensory experience. Starting in the 18th century, ideas of aesthetic pleasure have tried to define "taste". Kant and Hume both argued that there was universal good taste, which made aesthetic pleasure. A feminist line of logic about these attempts is that, because fine art was a leisure activity at this time, those who could afford to make art or produce supposed universal truths about how it is enjoyed would do so in a way that creates class and gender division. Even when those universal aesthetes did address gender, they categorized aesthetics into two categories: beauty and sublimity; with beauty being small and delicate (feminine) and sublimity being large and awe-inspiring (masculine). Feminist aesthetics analyzes why "feminine" traits are subservient compared to "masculine" traits in art and aesthetics. Another explanation for the male-domination of forming aesthetic theory is that feminists express their aesthetic pleasure differently than non-feminist aesthetes for "whom the pleasure of theorizing [...] is a form of jouissance". Instead, a feminist is less likely to view the object as a disinterested interpreter, and intellectualize the sensation (Hilde Hein). Morse discusses how art is a social institution. The influence of institutions comes from those who created the structure, which is mainly by men. From a spectator's point of view, men looking at women, compared to women looking at