 Some recent writers propose that everyday aesthetics will be better served by characterizing the aesthetic as a specific mode of perception. Everyday aestheticians who emphasize the difference of everyday aesthetic experience from a typical experience of art tend to characterize the former’s passivity and minimize the mediation of various conceptual considerations, emotional involvement, and imaginative engagement typically required in experiencing art. While it is agreed that the aesthetic is based upon our sensory perception, without a more active, creative, and imaginative involvement, those critics point out, there is nothing distinctly aesthetic about mere sensations. One suggested solution is to characterize an aesthetic experience as a dynamic and dialectic process of sensory perception and reflectivity that form aisthesis which leads to a dialogical relationship with the object we are perceiving (Matteucci 2017). This more general theory of aesthetic perception will help overcome the aforementioned two issues everyday aestheticians were grappling with, namely inclusion of all sensory modes and rendering the term valence-neutral. As will be discussed later in Section 8, one of the issues everyday aesthetics needs to determine is whether it carves out an independent arena of aesthetics or it is rather a continuation of aesthetics that had been established with art as the primary model. Those who advocate the continuity model argue that the dialogical mode of perception that integrates reflectivity provides the specifically aesthetic character to everyday experience (Nielsen 2005; Mateucci 2017; Potgieter 2017).