 Philosophical doubts about the relevance of empirical work to aesthetics are of various kinds. Some authors merely suggest that philosophers are apt to make hasty generalisations from slender experimental evidence, give insufficient attention to their details and limitations, and fail to acknowledge the existence of conflicting expert opinion (Konečni 2013; Stock 2014). Philosophers, aestheticians among them, can certainly overestimate their expertise on occasion and it may well be that they are even more prone to do so when it comes to empirical matters. None of this points to anything in principle problematic about their enthusiasm for the empirical. Other doubters emphasise what they see as more systemic dangers. Roger Scruton (2014) suggests a tendency to try to assimilate aesthetic phenomena to available scientific frameworks that turn out to be ill fitting; he cites the attempt to use Chomskian linguistics to found a generative theory of music which, he claims, fails to accommodate either music’s structure or purpose. Gordon Graham (2014), contrasting Hume’s aesthetic theory unfavourably with that of Reid, says that the project of an “aesthetic science” must ignore or deny the role of reason and judgement. Again, one may be alive to both kinds of dangers while retaining an openness to empirical work. In particular, Graham’s challenge might be responded to by noting that studies of the role actually played by reasons in aesthetic judgement point to a sometimes striking disconnect between what people think of as their reasons and the factors that determine their preferences (Lopes 2014 and Irvin 2014; see also below,  Section 3);  this can hardly be irrelevant to someone investigating the rationality of aesthetic judgement. Further, work which aestheticians have thought of as conceptual analysis in a broad sense has often presumed answers to what are in fact empirical questions. Noel Carroll says that