Abstract
In the last quarter of the twentieth century, a growing number of scholars in the humanities turned their attention to research on popular culture. Produced with the theoretical tools and scholarly ambition once reserved for literature and the fine arts, studies of film, television, and other products of consumer or mass culture proliferated, gelling into the interdisciplinary field that we know today as cultural studies. The aesthetics of everyday life is one of the distinctive contributions of philosophers to cultural studies, offering an alternative to the emphasis on mass culture in the field. Instead of film or television, everyday aesthetics shifts our attention to practices such as cleaning, homemaking, cooking, and wardrobe. A study of the aesthetics of everyday life is more likely to treat the ordinary living-room than a home designed by Frank Lloyd Wright or the suburban front yard more than the gardens at Vaux-le-Vicomte. By shifting away from both the art world and the culture industry, philosophers have been able to acknowledge the aesthetic character of everyday life, rewarding us with a broader conception of aesthetics.1 But beyond that expansion, just what are the implications for aesthetic theory?
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