 Critical of attempts to limit aesthetic experience solely to the domain of fine art, Art as Experience has had a high influence on trends in aesthetic research, which have sought to broaden the scope of the field from the traditional arts to popular culture (Shusterman 1992, 2nd edition 2000), the natural environment (Berleant 1997), and the everyday (Kupfer 1983, Saito 2007, Stroud 2011, Leddy 2012). The work is also often seen as a key part of Dewey’s general late philosophical project, most systematically developed in Experience and Nature (1925), of rethinking experience along naturalist lines as an interaction between the organism and its environment as opposed to a discrete sensory unit such as stimulus, impression, idea, or sense-datum. Instead of investigating how our senses are in touch with reality and whether they represent it correctly—which Dewey takes to be the frame of modern epistemology—Dewey’s starting point, building on his reading of Darwin’s theory of evolution, is to look at the ways in which experience is formed as a part of natural processes to which the human being is fundamentally tied. For Dewey, aesthetic experience is the highest form of this interaction. It is the phase when, in Dewey’s often used words, the interaction between the organism and the environment reaches a stage of fulfillment. Already Experience and Nature includes a chapter on aesthetics the themes of which Dewey went on to develop in much greater depth and detail in Art as Experience some ten years later. Due to the high value that Dewey places on aesthetic experience, Art as Experience has even been regarded as the culminating work of Dewey’s late philosophical thinking (Alexander 2013).