 Attempting to illuminate aesthetic phenomena by appeal to mirror neurons and other neurological processes is now so common that we have a substantial genre of neuroaesthetic writings (see Chatterjee 2013 for the field’s growth over 30 years). What remains controversial, though, is the significance (if any) this research into brain structures and processes has for aesthetics. We have already seen that—despite the bold claims sometimes made by neuro-aestheticians—some critics are inclined to dismiss this kind of work as irrelevant to evaluating the kinds of claim which aestheticians are concerned with. Gallese and Freedberg, responding to critics, say that