The Soviet Union is not inherently known around the free world as a beautiful image of cultural magnificence. The French, Italians, Greeks, and so on have all made their mark on the world with vivacious and aesthetically pleasing art, architecture, culture, food, and clothing. However, if one takes the meaning aesthetics at face value it appears that Soviet Art, specifically Socialist Realism, or any art created within the era of Stalin, would not even come close to the description of “aesthetically pleasing.” This is in part completely false, if you exchange the word pleasing for effective, than Soviet art aesthetics absolutely yields a positive connotation. Alla Efimova, a well-known Jewish curator and art historian, does a thorough job of explaining just how Soviet aesthetics operate to achieve their desired goals in an extremely clever and creative way through aestheticizing Soviet society in her work called “To Touch On the Raw: The Aesthetic Affections of Socialist Realism.” She refers to the work of Susan Buck Morris, who uses a remarkably unique but accurate metaphor to describe how aesthetics when returned to original meaning, indicates perception through the senses. So by using aesthetics Soviet art can fulfill the five human senses to allow the viewer to experience what Soviet life is. It is for this reason that the “beauty and pleasantness” potential of art is not sought after but a realistic capture of what life in the Soviet Union is like. Stimulation of the senses inspired Socialist Realist artists to, through various media from paintings to film, establish a “neurological” relationship between the artwork and the viewer to provide a virtual Soviet experience.