  Several philosophical issues arise from the discussion thus far. First, if we interpret Reid's discussion of aesthetics developmentally and we therefore discount certain commitments in Lectures that are not repeated in Intellectual Powers, then Reid skirts some traditionally troublesome problems for expression theories of art. On this interpretation, Reid's mature theory does not include a commitment to the claim that it is essential for something to be a work of art that the artwork must be imbued with an emotion by the artist that the artwork also arouses in the viewer or listener. Second, oddly for an expressivist, Reid rarely describes the cognitive and non-cognitive process whereby an artist creates an artwork (Gallie 1998, 178). But if an artwork's aesthetic properties are those properties that have been imbued in it in part through the artist's experience of emotion, presumably the nature of the creative process bears heavily on expression theories of art.