The pleasure of beauty always comes from seeing, from listening; it always originates from the senses ("aesthetics", in fact, comes from the Greek term aísthesis: sensation) and it is the sensations themselves and their associations that delight by themselves, causing in us a pleasure that is difficult to separate from: it would be said that there has been a suspension of the will, as if we were 'enchanted by the sirens'. The experience of beauty implies a contemplative attitude, different from the normal, practical attitude towards things, with which we stop thinking about its usefulness or purpose and concentrate only on what we have before us, isolating it from everything else ( in art, that is the function that frames, pedestals or the stage fulfill: isolate). The pleasure of beauty is, therefore, free and disinterested, since it is not the object itself that pleases, but its image; it is as if our entire consciousness is filled with the representation of the object. It is, moreover, a pleasure for the whole mind, since the senses come into play, yes, but also the imagination and understanding. In everyday life our gaze slips across the surface of things, giving them only a routine consideration, but the beautiful thing stops us, it is that in which there is no other choice but to look and that forces us to linger. For this reason, aesthetic pleasure also implies a different experience from time, since in it the calculating character with which we normally dispose of it in daily life is paralyzed and we access what, in our finitude, can be a glimpse of eternity.