Nevertheless, all of them may assume esthetic values. Rhythmical movements of the body or of objects, forms that appeal to the eye, sequences of tones and forms of speech which please the ear, produce artistic effects. Muscular, visual and auditory sensations are the materials that give us esthetic pleasure and that are used in art. We may also speak of impressions that appeal to the senses of smell, taste and touch. A composition of scents, a gastronomical repast may be called works of art provided they excite pleasurable sensations. What then gives to the sensation an esthetic value? When the technical treatment has attained a certain standard of excellence, when the control of the processes involved is such that certain typical forms are produced, we call the process an art, and however simple the forms may be, they may be judged from the point of view of formal perfection; industrial pursuits such as cutting, carving, moulding, weaving; as well as singing, dancing and cooking are capable of attaining technical excellence and fixed forms. The judgment of perfection of technical form is essentially an esthetic judgment. It is hardly possible to state objectively just where the line between artistic and pre-artistic forms should be drawn, because we cannot determine just where the esthetic attitude sets in. It seems certain, however, that wherever a definite type of movement, a definite sequence of tones or a fixed form has developed it must become a standard by which its perfection, that is, its beauty, is measured. Such types exist among mankind the world over, and we must assume that if an unstandardized form should prove to possess an esthetic appeal for a community it would readily be adopted. Fixity of form seems to be most intimately connected with our ideas of beauty. Since a perfect standard of form can be attained only in a highly developed and perfectly controlled technique there must be an intimate relation between technique and a feeling for beauty.