 The philosophers who support the use of research on neurological processing of kinesthetic responses to dance in general hold that it is relevant to our proper understanding of dance qua the art of dance. Carroll and Seeley (2013) argue, for example, that one of the central features of understanding dance is to understand the nature of the experience of dance in all its aspects, cognitive as well as kinesthetic and felt. Thus, connecting this experience with causal explanations is elucidating and appropriate to a full and broad understanding of that experience in all of its aspects. This can be called the “moderately optimistic view”, following D. Davies 2013. D. Davies’ own answer to the question of how scientific research can be used in understanding and appreciating dance is what he calls the “moderately pessimistic” view (2013). He agrees with McFee that there are some questions relevant to philosophical dance aesthetics that cannot be answered by empirical research, no matter how accurate that research may be for answering certain scientific, causal questions. There are normative questions, for example, such as “what counts as proper appreciation of a work of art?” that science cannot answer. Empirical research, where used by dance and other philosophers, must, according to D. Davies, be applied carefully to the relevant questions (see 2011a and 2013; see also 2014).