 This account of everyday life as pervaded by negative aesthetic qualities rather than lacking any aesthetic qualities gives rise to ‘negative aesthetics.’ This notion may at first appear to be an oxymoron, if ‘aesthetics’ is understood in the usual honorific sense. Katya Mandoki and Arnold Berleant stress the importance of attending to this aesthetically negative aspect of people’s lives that is unfortunately all too common (Mandoki 2007; Berleant 2010, 2012). Negative aesthetic qualities such as ugliness, grotesqueness, repulsiveness, and disgust have not been absent in the prevailing aesthetics discourse, but they don’t occupy a prominent place (notable exceptions being Korsmeyer 2011, Forsey 2016). Furthermore, more often than not, these negative qualities become justified as a necessary means to facilitating an ultimately positive aesthetic experience. For example, a disgusting content of art may be necessary for conveying an overall message, such as an exposé and critique of social ills, or a repulsive sight in nature, such as a predator devouring its prey, can be appreciated as an integral part of nature’s process.