 The relationship between the aesthetic and the ethical has been one of the contested issues in the aesthetics discourse regarding art. Debates ensue regarding the aesthetic relevance of the moral content of art, the artist’s or performer’s character, and the process involved in creating a work of art. The positions range from their complete separation supported by aestheticism to their integration advocated by moralists. However, the ethical implications of art (at least in its more conventional form) do not have a direct bearing on changing the world. They may affect the audience’s perception, attitude, and worldview, which may lead them toward a certain action, but the impact is indirect. In comparison, the aesthetic impact of everyday affairs often leads to direct consequences that change the state of the world. Just as in art-centered aesthetics, however, there are differing views on whether or not and to what degree the ethical implications should affect the aesthetic value of the object. Some prefer to separate them and protect the autonomous realm of the aesthetic (Forsey 2013). Others advocate integration by calling for an aesthetic paradigm shift (Orr 2002; Saito 2007, 2017a, 2018b; Maskit 2011) not only by explicitly including the moral dimensions of objects and environments in their aesthetics but also by rethinking the fundamental ways in which we humans interact with the material world. At least according to the Western tradition, the material world lacks any agency in a morally relevant sense and its value is exhausted by its instrumental utility to humans. However, just as the long-held Western anthropocentric attitude toward nature has come under scrutiny, some thinkers propose a more respectful attitude toward and interaction with the material world (Ingold 2000; Nielsen 2005; Brook 2012; Perullo 2016; Saito 2018b).