 Social aesthetics also sheds light on another new avenue of inquiry ushered in by everyday aesthetics: the aesthetic dimension of doing things instead of, or in addition to, the experience gained as a spectator or beholder. The traditional mode of aesthetic inquiry is primarily concerned with analyzing the aesthetic experience of a spectator who derives aesthetic pleasure from contemplating an object (or a phenomenon or an event). Even in such an experience, as Dewey’s characterization of ‘undergoing’ and ‘doing’ and Berleant’s engagement model indicate, the person is never passive; she is actively engaged with the object through exercising imagination and interacts with it perceptually, intellectually, and emotionally. However, in the most literal sense, she is still an onlooker of the object: a painting, a symphony, a tea bowl, a figure skating performance, a flower garden, a piece of furniture, an automobile, a house, and a freshly laundered shirt.