Significant aesthetic properties in an enactor's actions can be attributed to the designer's intentional artifact creation.

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• In process art, designer's work and attentive focus come apart: work is the artifact; focus is the enactor's activity.claim0.793
  Key conceptual move distinguishing process from object art; resolves question of where aesthetic properties reside.
• The aesthetics of our own actions are already a natural part of the rich experience of our lives.concept0.775
  Opening claim establishing process aesthetics as pervasive human experience, motivating study of process arts.
• Who is responsible for the aesthetic qualities of action—the artist or the active audience?question0.773
  One of three key unanswered questions identified as motivation for the theory of process arts.
• Artifacts can stabilize and make intersubjectively sharable aesthetic experiences of action.claim0.773
  Core thesis: refutes Saito's concern by showing designed artifacts structure process aesthetics similarly to object arts.
• Contingent properties like composition, origin, or similarity to human brains should not define ethical consideration for novel agents.claim0.770
  Ethics must be based on empirically-determined cognitive properties (goals, preferences, concerns) rather than parochial markers.
• The affordances of software are often abstract: actions have direct effects that users cannot see and indirect effects they cannot anticipate.claim0.764
  Why concepts are needed to make sense of complex systems.
• Who is the artist in process art, and how do they imbue an artifact with capacity to shape aesthetic activity?question0.762
• An injection of new structure into a place can either respect and enhance the existing wholeness or violate and destroy it; this is an objective structural fact, not merely aesthetic preference.claim0.761
  Alexander's assertion that judgments about whether interventions preserve wholeness are structural and mathematical rather than subjective or romantic.