 James did not make sustained contributions to aesthetics, but Dewey did, particularly in his 1934 book Art as Experience. Dewey viewed aesthetic appreciation as a peak human experience and ‘the greatest intellectual achievement in the history of humanity’ (LW10:31, cited in Hildebrand 2008: 146). Consequently the most important question in this area of philosophy is not how to define necessary and sufficient conditions for Art, but how to enable ordinary people to enjoy more of it, so that their lives might be more meaningful. The way forward, Dewey suggested, is to learn to fetishize professionally-curated contexts and Art objects less, in order to open our eyes to consummatory experiences as they occur in the everyday experience of the ‘live creature’. Examples of such consummations include: ‘[a] piece of work is finished in a way that is satisfactory; a problem receives its solution; a game is played through…’ (LW10:42). In contrast to such integrated completions within experience, both hedonistic dissipation and rigid self-control count as ‘anesthetic’. True art alternates between doing and undergoing. Notable recent work building on Dewey’s aesthetics includes Richard Shusterman’s somaesthetics, which extends pragmatism’s defining interest in agency to exploring the complex role of the human body in aesthetic experience (Shusterman 1992; 2012).