 Both the cognitive and the non-cognitive orientations in environmental aesthetics have resources that are brought to bear on the aesthetic investigation of human and human-influenced environments. Of the initial positions, some non-cognitive approaches have made the most substantial contributions to this area of research. The aesthetics of engagement is particularly significant in this regard, constituting a model for the aesthetic appreciation not simply of both nature and art, but also of every other aspect of human experience; it studies the aesthetic dimensions of rural countrysides, small towns, large cities, theme parks, gardens, museums, and even human relationships. Moreover, although, as is clear from the early collections of essays in environmental aesthetics (Kemal and Gaskell 1993, Carlson and Berleant 2004), the field initially concentrated on natural environments, the aesthetics of engagement, unlike most other approaches, from very early on focused not simply on natural environments, but also on human environments and especially on urban environments (Berleant 1978 1984 1986). Much of this material is available in more recently published volumes (Berleant 1997 2004 2005 2010b 2012). It has become a foundation for a substantial body of research on the aesthetic appreciation of urban and as well as other kinds of environments (Haapala 1998, von Bonsdorff 2002, Blanc 2013, Paetzold 2013, Alvarez 2017). Other non-cognitive accounts, such as that which stresses imagination, likewise illuminate our aesthetic responses to a range of human environments as well as to our use of them for purposes such as resource extraction and agricultural production (Brady 2003 2006).