 Recently the link between aesthetic effects and pervasive features of perception and cognition has been highlighted again by the theory of predictive processing: the idea that the fundamental activity of the brain is to make predictions and test and revise them against incoming information from the senses, the goal being the reduction in predictive errors or what is also called reduction in uncertainty (for a survey of philosophical applications of this idea see Hohwy . It is suggested that positive affect is the product of such reductions, while negative affect results when uncertainty is increased. Works of art are said to provide the brain with exercises, sometimes challenging ones, in error reduction (van de Cruys &amp; Wagemans 2011). But why should we seek more exercises in prediction error reduction than the many that the world throws at us continually? What is to say that the eventual reduction in error outweighs the initial increase posed by a work of art?