 Goodman’s positive claims with respect to the experience of art are certainly to be taken seriously, in spite of the fact that the negative claims preceding them, once read in light of the later developments and applications of cognitive science to art, may sound too quickly dismissive. Goodman emphasizes the cognitive role of emotions in the apprehension of a work of art (1976, 248). In art, he emphasizes, feeling emotions, whether positive or negative, pleasant or unpleasant, is a way to perceive the work and the world through the work. Feeling melancholy when listening to a piece of music, for instance, may be a way to perceive musical features of the work, as well as to perceive the world in terms of them. Hence, the emotions serve the understanding. On the other hand, such claims as, for instance, that the view according to which “art is concerned with simulated emotions suggests, as does the copy theory of representation, that art is a poor substitute for reality” (1976, 246) are, in light of more recent developments, in tension with other claims by Goodman, such as that the “actor or dancer—or the spectator—sometimes notes and remembers the feeling of a movement rather than its pattern, insofar as the two can be distinguished at all” (1976, 248). For the sort of phenomena mentioned in the latter claim may very well be best explained by cognitive theories that consider mental simulation and other forms of mimicry central to certain imaginative activities as well as to memory.