In empirical aesthetics, self-reports on subjective experiences are an important source of data. In addition to retrospective ratings, continuous ratings of ongoing experiences or perceptions are particularly promising for examining their dynamic trajectory over time. One crucial question in this regard, however, is whether a continuous rating task affects or even disrupts the aesthetic experience of an art performance. To answer this question, we had 65 participants divided into two groups listen to a recording of the Dadaist sound poem Ursonate by Kurt Schwitters. One group was asked to continuously rate their liking throughout the auditory presentation, whereas the other group listened only. We collected 25 aesthetically evaluative ratings after each of the four movements of the Ursonate and 21 emotion ratings at the very end. Furthermore, throughout the entire presentation of the poem we also continuously measured each participant's heart rate and skin conductance. The two groups did not differ in either kind of retrospective self-report. This lack of differences was corroborated by a lack of differences in physiological responses. Furthermore, the task of giving a continuous liking rating was reported to be reasonably well manageable, although not easy. Thus, asking audiences for continuous ratings does not seem too strenuous a task, and it does not systematically alter the subjective experience as captured in retrospective ratings.

在经验美学中，关于主观经验的自我报告是重要的数据来源。除了回顾性评级之外，对正在进行的经验或看法的连续评级对于检查其随着时间的动态轨迹尤其有希望。但是，这方面的一个关键问题是，连续的评级任务是否会影响甚至破坏艺术表演的审美体验。为了回答这个问题，我们有65位参与者分成两组，听着Kurt Schwitters录制的达达主义声诗Ursonate的录音。一组被要求在整个听觉表现中持续评价他们的喜好，而另一组仅听。在Ursonate的四个运动中的每个运动之后，我们收集了25个美学评估等级最后还有21个情感等级。此外，在整个诗歌介绍中，我们还不断测量每个参与者的心律和皮肤电导率。两组的回顾性自我报告没有差异。生理反应中的差异证实了这种差异的缺乏。此外，据报道，给予持续喜好评级的任务虽然不容易，但仍可合理地很好地管理。因此，要求听众提供连续的评分似乎不是一件太费劲的事，并且它也不会系统地改变回顾性评分中捕获的主观体验。