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Whatever stimulus-preference laws we discover are likely to be twisted and modulated when another dimension is added to the stimuli. It also tacitly assumes that these dimensions are independent and orthogonal. The reductive psychophysical approach explicitly assumes that there are lawful relations between different stimulus dimensions and preferences. We thus resort to measuring cold, cognitive preference ratings. However, we cannot evoke these ‘hot’ aesthetic emotions in the lab, at least not with well controlled stimuli on multiple trials. The most enigmatic components of aesthetic experience include inclination to cry, aesthetic rapture, a sense of the sublime, and intense fascination. The limitations of this approach can be categorized as problems on the Y axis (what we measure) and the X axis (what we manipulate). We vary some aspect of the stimulus and systematically measure some aspect of the aesthetic response.
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A typical experiment could be described as reductive and quasi-psychophysical. Beyond quantitative evaluations of artistic phenomena, we argue for deeper intersections between computer science, philosophy, history and psychology of art.įor over a century we have attempted to understand human aesthetic experience using scientific methods. Lacking, to date, is a computational framework able to account for socio-political and historical implications of creative processes. We describe three of these musical expressions, each with its own aesthetic criteria, and examine several exemplary works for each. Standard applications of Zipf's Law and Information Rate are argued to be inadequate as computational measures of aesthetic value in musical styles where noise, repetition or stasis are valued features. This article critiques some statistical and information-based methods that have been used in computational creativity, in particular their application in assessing aesthetic value of musical works, rather than the more modest claim of stylistic characterization. However, in the field of computational creativity, universals are actively sought, with a view to codification and implementation. Contemporary musical aesthetics, as a field in the humanities, does not typically argue for the existence of aesthetic universals.