Noel Carroll analyzes in his article “Aesthetic Experience Revisited” three different points of view on the ways of achieving an aesthetic experience. The first approach is the affective approach which claims to distinguish a certain emotional quality in the experience provoked by a work of art. The second story is the axiological approach whose capacity engages with the necessary condition for an experience to be valued by itself. Finally, the content-oriented view addresses the properties produced by a work of art, drawing attention to all the main features (e.g., expressive and formal properties) toward which the experience is oriented. This article will support the content-driven view as the best explanation for achieving a distinct aesthetic attitude. The affect-oriented meaning we attribute to an aesthetic experience arises when we consider a distinctive quality whose purpose is to focus on some of the characteristics that affect our emotions. According to this interpretation, the immediate response of an aesthetic work may be intended to bring joy and pleasure to the viewer. “A vaguely more explicit candidate is pleasure, pleasure, or enjoyment. One way of developing this type of view might be to say that something is an aesthetic experience only if it is pleasant” (2002: 148). This approach excludes the possibility that we can achieve an experience also through a tedious and non-pleasurable effect. Some works of art characterized by boredom can nevertheless provoke a feeling of pleasure in the audience. For example, the meaning of Picasso's "Guernica" evokes shocking memories of atrocities committed against civilians during the Spanish Civil War. To understand the real meaning that Picasso intended to attribute to this painting, it is necessary to appeal to the middle of paper ......atures which also allow the viewer to grasp the intention for which the work was created.In conclusion, This article has raised claims against the affective-oriented approach and the axiological-oriented approach as satisfactory explanations for giving rise to a certain aesthetic experience. Not all works of art are subject to distinctive qualities like pleasure or enjoyment, but they also consider all elements that are part of the content that holds our attention. If there is one aesthetic experience we can derive from an artifact, it is content-oriented vision. This vision is the capacity of the viewer to be able to grasp the content of the work, given in terms of the properties it possesses, and not by virtue of its capacity to arouse feeling. Most important is the interpersonal relationship between understanding the main features represented in a composition.