 going on to say that painting is an inquiry into the laws of the brain and that what pleases us is what pleases our brains (1999: 1–2). While attitudes such as this may not constitute a complete dismissal of philosophical aesthetics they show little awareness of its results, or understanding of the limitations of neurological studies. Facts about brain processes do not tell us—at least without some substantive and controversial bridging premises—what objects are art works, or what works have value (see Hyman 2010 for wide ranging criticism of this approach). The relations between empirical work and normative aesthetics will recur throughout this entry.