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The notion of disinterestedness became, during the eighteenth century, the central term in modern aesthetics. Developments in the arts since that time, however, have led to its loss of relevance, although it has continued its preeminence in theory. While rejecting disinterestedness and its kindred concepts of contemplation, distance, and universality, their continuing insights lie in perceptual directness and receptivity and in focused attention. These can be retained in an aesthetics ofdoi:10.17613/m69c6s12x fatcat:p4fg2u3735hyvaas73pww5yq4i