 First, many critics, as well as supporters, of everyday aesthetics point out that it needs to be anchored in a firm theoretical foundation (Forsey 2013a; Ratiu 2013; Iannilli 2016). Among the possibilities suggested are finding roots in phenomenology, structuralism and poststructuralism, in addition to pragmatism that is often cited as the primary root (Potgieter 2017). Also suggested is to frame everyday aesthetics as a practical philosophy with its emphasis on practical knowledge that is contingent and relational as well as providing agency for acting for common good (Vihalem 2016; Ratiu 2017a). Another suggestion is to provide a theory of aesthetic perception based upon a specific mode of attention (Nanay 2016, 2018). These suggestions are made specifically to address and possibly resolve the perceived conflicts and tensions debated by everyday aestheticians between everyday and non-everyday, life and art, theory and practice, ordinary and extraordinary, routine and non-routine, familiar and unfamiliar, and bodily-oriented (lower) senses and cognitively-oriented (higher) senses. A firm theoretical footing should also support intersubjectivity of aesthetic experience so as not to render everyday aesthetics hopelessly subjective and trivial, one of the common criticisms lodged against it. In addition, a theoretical foundation is thought to help illuminate the political dimensions of everyday aesthetics, specifically the politically charged regime of the sensible and the increasing aestheticization of commerce and politics that treats people more as consumers than as citizens.