 Davies is surely right about the ubiquity of the application of the language of space and motion to processes that lack individuals located in space. The appeal to secondary literal meanings, however, can seem as unsatisfying as the appeal to irreducible metaphor. We do not hear music simply as a temporal process, it might be objected, but as moving in the primary sense of the word, though we know that it does not literally so move. Andrew Kania (2015) develops a position out of this intuition by emphasizing Scruton’s appeal to imagination while dropping the appeal to metaphor, arguing that hearing the music as moving is a matter of imagining that its constituent sounds move (see also de Clercq 2007 and Trivedi 2011: 116–18). Kania explicitly models his theory on the popular Waltonian theory of fiction (Walton 1990). Whether this is a benefit or a cost depends on how similar our basic experiences of music and fictions are (and, of course, on the truth of Walton’s theory of fiction).