awareness and consciousness in their growing importance to aesthetic theory; and Zimmerman refers to G.E.Moore who wrote in relation to art and beauty that "by far the most valuable thing we know or can imagine are certain states of consciousness". Both Frankena and Nicolai Hartmann, who Frankena mentions, begin their lists of values with groups including consciousness, life and existence, and Hartmann makes reference to Nietzsche who considered that the value of beauty in art or nature lay in an increased awareness of life as an "affirmation of existence". Shelley describes another concept apart from "immediacy" or "focussing one's attention on the subject" and this is the concept of "disinterestedness", a Kantian term which consists in looking at things objectively and impartially. He refers to Schopenhauer who realised that if perception were to be the only criterion of aesthetic value then, with a mind stripped of practical interest and cultural preconceptions, anything at all might be seen as beautiful: "One thing is only taken as more beautiful than another because it makes this pure contemplation easier", wrote Schopenhauer, a view criticised by Sartwell for making the term beauty, ultimately meaningless. Shelley, however, manages to elucidate various criteria of aesthetic value from such a standpoint: firstly, that there is value in simple formal relations, in harmony, grace and balance, and in fact in any other objective aspect that a good critic might care to point to; secondly, that there is value in recognising that people have natural tastes and preferences, whether, for example, they prefer "drama or comicality", or whether the work is striking in some way; and thirdly, that there is value in recognising the presence of "non-exhibited properties", realising that the work, or perception, is located within an "art-historical context" where only knowledge of, in Danto's terminology, an "artworld" can facilitate our feeling "the proper sentiments". In addition to the views that aesthetic value lies either in the object or in the subjective experience there is a third view which suggests that value lies in some kind of engagement between the two. G.E.Moore wrote that it is neither in the "beautiful object" nor in the "conscious perception" where value is found but in the relationship between the two. Shelley too concludes with the idea that there is some reciprocal relationship between subject and object, his example being that of a Bartok quartet, where "a value originally belonging to the