The third lecture is part six of Aristotle in the Introduction to Philosophy series. The issues discussed are “aesthetic”. Art objects are imitations of the character, emotions and action of man: The human activity of Art, is an activity of mimesis or imitation. Art is imitation Aristotle argues, not of external nature but rather of mans mind, in particular his character, emotions and actions. But why does one desire to imitate? Because firstly,there is both an instinct to imitate demonstrated in the fact that humans distinguish themselves from animals partly in the fact that they learn from other humans by imitating them and secondly because we take delight in imitations. But what then is the telos, the purpose of these mimetic productions? The creation and appreciation of art must be related of course to the flourishing life and its explorations of regions of our mind that seek for understanding with universal intent. The idea of the good object is obviously of major significance in the arena of artistic activity and must be related to both its intellectual and emotional aspects. "Universal intent" here obviously refers to organising our experiences such that we connect emotions and actions that should be connected and differentiate between emotions and actions where there are real differences. Such organisation also entails an understanding of the role of the subject and the role of the object in this process of trying to fathom the depths of the mind. If we are to believe Psychoanalysis, at the bottom of these depths lie the shipwrecks of our experience scattered on the ocean bed and the connection of these fragmented experiences are often not real or as Freud put it, in accordance with the Reality Principle. Death trumps life in such scenes of the unreal. Aesthetic objects then seek understanding with universal intent via creations where the aim is to imitate our life as complex as it is yet at the same time including a complex relation to the ultimate incomprehensible, namely death. The structure of imitation translates into the act of appeciation which must now be construed as acts of interpretation of symbols: According to Adrian Stokes in his essay "The Invitation in Art": "Structure is ever a concern of art and must necessarily be seen as symbolic, symbolic of emotional patterns, of the psyche's organisation with which we are totally involved......Patterns and the making of wholes are of immense psychical significance in a precise way even apart from the drive towards repairing what we have damaged or destroyed outside ourselves......in every instance of art we receive a persuasive invitation...we experience fully a correlation between the inner and the outer world which is manifestly structured. And so the learned response to that invitation is an aesthetic way of looking at an object." The aesthetic way of looking at an object must address in some way the shipwrecks of experience which lay deep down on the ocean bed of our experiences.