Experience begins with sensingsensing, which is significantly of particularitiesparticularities. I call these “p-unitatesp-unitates”. How does sensation filter into the process of experiencing artworkartwork? Taking into consideration the last chapter’s description of nonconscious perceptionnonconscious perception, gistgist, and affordances, this chapter lays out the role of sensation in the pull and push of perception. Reality exists already in a schema, and we do not see everything—we editedit—and sensing is an important part of gist perceptiongist perception. Thus, the trajectory is not measured in the usual way by starting with the object and attempting to determine how it is that the object conveys predicable information to the subjective experience of the perceiver. Instead, I begin with gist and the sensing that is part of it, and track how an individual’s gist can—in consort with others’ experience—become constitutive of public objects. Considering that researchers have shown nonconscious perception to exist, and that sensation exists in not just a feed-forward model but a dynamicdynamic model and feedback one giving us our immediate and affective reaction to a situation, we can establish the important role of low-levellow-level features in determining when something seems to be a certain way to us. The paradigm example is artart.