But the motive of fine art becomes clearer when it is purer. Objects are then made with explicit reference to the interest taken in apprehending them. I do not mean that they cannot on that account be useful, for without doubt utility itself contributes to beauty; but only that they owe their form primarily to the aesthetic interest. The motive of fine art in its purity appears when special materials are selected on account of their plasticity and their appeal to the more highly developed senses. Fine arts that employ one medium are now separated and perfected through the cultivation of expert proficiency. {179} Thus there arise such arts as painting and music, one of which gives form to light and appeals to the eye, while the other gives form to sound and appeals to the ear. In this way society comes to acquire and accumulate objects which are designed, either wholly or in part, with reference to the special aesthetic interest. They are the creatures of this interest, and their place in life is determined by it. To understand their importance and to estimate their moral value it is therefore necessary to isolate this interest and examine it with some care.[2] By the aesthetic interest I mean to refer to the interest that is taken in the work of fine art by the observer. There is undoubtedly a special interest in creation, but it is of relatively small importance. Even the artist is controlled largely by the interest in observing his own work; and art is a serious social concern only because of its appeal to the unlimited number of persons who may enjoy it without having any hand in the making. Now, in the passing allusion which I have made to the aesthetic interest, I have already used the term which is most convenient for purposes of general definition. The aesthetic interest is _the interest in apprehension_. What I mean by this will become clear when I compare it with two other interests which may also be taken in the content of experience. There is, in the first {180} place, what is called the practical interest, that is, the interest in an object on account of what can be done with it by manipulation or combination with other objects. Secondly, there is the theoretical interest in the structure of reality, manifesting itself in the exploration of the object and its context. Now the interest in apprehension is not an interest in what can be done with the object, nor in its real structure, but in _the present conscious reaction to it_. One may take all three of these interests in the same object. Thus if I pluck the flower and take it home to my wife, I give evidence of a practical interest in it; if I kneel down and examine it carefully, I suggest the botanist; while if I continue to gaze at it where it lies, it would appear that I enjoy simply looking at it. It is this interest simply in looking at things, in just the perceiving, feeling, thinking, or imagining them, that I mean to sum up as the