Thus I turned to personal experience and time to sort for a unifying sense of all my socially separated learnings and activities. My model is based upon a quantitative sizing up of the potentially aesthetic material in order to come up with an integrated personal interpretation that supports a judgment of quality of experience and encapturement of the feeling of the aesthetic or art. Like a computer our brains sum up an aesthetic situation, subtracting the psychological turn-ons from the turn offs, in order to almost simultaneously determine the resultant intensity of aesthetic quality felt from the stimulus. Quality is influenced by time and fashion. The aesthetic object or situation is the vehicle for active communication of feelings and awareness between two people, the artist and his public.
Norms come into play in the aesthetic experience by placing brakes on too sudden changes in art.
It's like a stabilizing factor of the evolving art that is adapting to our new needs. Thus does my model incorporate formistic thought. Psychological elements are definitely included, for the physiological sensations of art media play excitatory and therefore sensuous roles for the aesthetic experience. Of course the model is highly organistic in nature, for it states that larger entities, like art appreciation or aesthetic experience, are the accumulation of other multi-level relationships of the human mind. I call it Transformative Philosophy.