The essay builds an empiricist framework for aesthetics by treating observation and theory as adaptive, nonmetaphysical processes and applying an economy principle to choose among competing explanations. It rejects the assumption that artistic creation and appreciation depend on special, innate faculties and instead seeks to derive aesthetic concepts from commonly shared perceptual facts. The author distinguishes a naturenear domain, which serves as a foundation, from a nature‑distant domain requiring a structured arrangement of three modes—naturalistic permutation, idealism, and expressionism—and offers a comparative classification, formal criteria, and schematic examples to clarify their relations and practical application.