 Thus, the perception that everyday aesthetics is a new frontier of aesthetics discourse needs to be situated in the context of late twentieth-century Anglo-American aesthetics. That is, it was established as a reaction against what was considered to be an undue restriction on the scope of aesthetics. It aims to give due regard to the entirety of people’s multi-faceted aesthetic life, including various ingredients of everyday life: artifacts of daily use, chores around the house, interactions with other people, and quotidian activities such as eating, walking, and bathing. Everyday aesthetics also seeks to liberate aesthetic inquiry from an almost exclusive focus on beauty (and to a certain extent sublimity) characteristic of modern Western aesthetics. It includes within its purview those qualities that pervade everyday experience, such as pretty, cute, messy, gaudy, tasteful, dirty, lively, monotonous, to name only a few. These items and qualities are characterized by their ubiquitous presence in the daily life of people, regardless of their identity, occupation, lifestyle, economic status, social class, cultural background, and familiarity with art.