 Nonetheless, in spite of these challenges and concerns about the aesthetics of everyday life, when it turns to the investigation of things such as sports and food, it begins to come full circle, connecting environmental aesthetics back to more traditional aesthetics and to the study of clearly genuine aesthetic experiences. By way of the aesthetics of everyday life, together with the aesthetics of human environments, environmental aesthetics makes contact with the artistic activities involved not only in sports and cuisine, but also in gardening (Miller 1993, Saito 1996, Carlson 1997, Ross 1998, Cooper 2006, Parsons 2008a, Chung 2018, Brady et al 2018) and in landscaping, architecture, and design (Stecker 1999, Carlson 2000, Parsons 2008b 2011 2016, Forsey, 2013, Svabo and Ekelund 2015, van Etteger et al 2016). In addition, and now within the context of environmental aesthetics, traditional art forms, such as poetry and literature (Berleant 1991 2004, Ross 1998, Sepänmaa 2004) and painting, sculpture, dance, and music (Berleant 1991 2004, Ross 1998, Mullis 2014) as well as newer forms, such as environmental art (Crawford 1983, Carlson 1986, Ross 1993, Brady 2007, Brook 2007, Fisher 2007, Lintott 2007, Parsons 2008a, Simus 2008b, Brady et al 2018, Nannicelli 2018), are explored and re-explored—both as aesthetically significant dimensions of our everyday experiences and concerning their roles in shaping our aesthetic appreciation of both natural and human environments. (For more detailed consideration of the aesthetics of everyday life, see the SEP entry on the Aesthetics of the Everyday.)