(Automation of Arts - 2)
When we regard an artistic masterpiece, we do not solely admire its apparent physical form. Instead, we admire the entire history of human efforts, as well as people, historical events, and sociopolitical narratives, which interacted with one another in their own rich context and eventually converged into a single physical piece called "artwork".
Some people may accuse this broad interpretation as a form of "intellectual snobbery" and view it through a lens of cynicism. Yet, I would argue that such a type of abstract imagination is what gives meaning to everyone's life in the first place.
When buying products, consumers choose a specific brand over others oftentimes because they are personally attached to it in an emotional way, not necessarily because it is superior to others in terms of material quality. From a marketing point of view, the concept of "fact" and "feeling" (which some political extremists are fond of presenting as an analogue of "Good VS Evil") are not completely isolatable from each other. We can say that it is a "fact" that some consumers prefer certain brands over others because they "feel" that their choice is right. And the eventual result of the consumer's feeling is oftentimes a materially interpretable outcome (aka "profit") which can basically be defined as a "fact" in the context of economic interests.
And because of this interchangeability between "fact" and "feeling", we cannot simply segregate the human part out of a piece of commercial art. What makes an artwork sell itself is a sense of personal attachment - a sense that the customer has an emotional connection with the product that he/she is buying, as well as with the creator of the product who might have shared the same set of cultural narratives and recollections with the customer, as a human being with a soul, and not as an "aesthetic factory" which cunningly mirrors the collective taste of what the majority of people happen to favor.