   But again, Wittgenstein's fundamental concern here is to point out the great conceptual gulf that separates aesthetic perplexities from the methodology of empirical psychology. To run studies of quantified responses to controlled and isolated aesthetic stimuli, where emergent patterns of preference, response, and judgment are recorded within a given population's sample, is to pass by the true character of the aesthetic issue—the actual puzzlement, such as we feel it, will be conceptual, not empirical. And here again we see a direct link to his work in the philosophy of psychology: the penultimate passage of Part II of Philosophical Investigations (1958, sec. xiv), was “The existence of the experimental method makes us think we have the means of solving the problems which trouble us; though problem and method pass one another by” (Wittgenstein 1958, II, iv, 232). He says, near the close of this part of his lectures on aesthetics, “Aesthetic questions have nothing to do with psychological experiments, but are answered in an entirely different way” (Wittgenstein 1966, 17).  A stimulus-response model adapted from scientific psychology—what we might now call the naturalizing of aesthetics—falsifies the genuine complexities of aesthetic psychology through a methodologically enforced reduction to one narrow and unitary conception of aesthetic engagement. For Wittgenstein complexity, and not reduction to unitary essence, is the route to conceptual clarification. Reduction to a simplified model, by contrast, yields only the illusion of clarification in the form of conceptual incarceration (“a picture held us  captive”).[5]