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128-499: Gracefulness is an idea not very different from beauty ; it consists of much the same things. Gracefulness is an idea belonging to posture and motion . In both these, to be graceful, it is requisite that there be no appearance of difficulty; there is required a small inflection of the body; and a composure of the parts in such a manner, as not to encumber each other, not to appear divided by sharp and sudden angles. In this ease, this roundness, this delicacy of attitude and motion, it

256-413: A machine learning approach, where large numbers of manually rated photographs are used to "teach" a computer about what visual properties are of relevance to aesthetic quality. A study by Y. Li and C. J. Hu employed Birkhoff's measurement in their statistical learning approach where order and complexity of an image determined aesthetic value. The image complexity was computed using information theory while

384-413: A subject -based, inductive approach. The analysis of individual experience and behaviour based on experimental methods is a central part of experimental aesthetics. In particular, the perception of works of art, music, sound, or modern items such as websites or other IT products is studied. Experimental aesthetics is strongly oriented towards the natural sciences . Modern approaches mostly come from

512-406: A work of art ), while artistic judgment refers to the recognition, appreciation or criticism of art in general or a specific work of art . In the words of one philosopher, "Philosophy of art is about art. Aesthetics is about many things—including art. But it is also about our experience of breathtaking landscapes or the pattern of shadows on the wall opposite your office. Philosophers of art weigh

640-555: A "classical beauty" or said to possess a "classical beauty", whilst the foundations laid by Greek and Roman artists have also supplied the standard for male beauty and female beauty in western civilization as seen, for example, in the Winged Victory of Samothrace . During the Gothic era, the classical aesthetical canon of beauty was rejected as sinful. Later, Renaissance and Humanist thinkers rejected this view, and considered beauty to be

768-411: A Renaissance Madonna for aesthetic reasons, but such objects often had (and sometimes still have) specific devotional functions. "Rules of composition" that might be read into Duchamp 's Fountain or John Cage 's 4′33″ do not locate the works in a recognizable style (or certainly not a style recognizable at the time of the works' realization). Moreover, some of Dutton's categories seem too broad:

896-423: A culturally contingent conception of art versus one that is purely theoretical. They study the varieties of art in relation to their physical, social, and cultural environments. Aesthetic philosophers sometimes also refer to psychological studies to help understand how people see, hear, imagine, think, learn, and act in relation to the materials and problems of art. Aesthetic psychology studies the creative process and

1024-470: A facsimile/copy). Aesthetic judgments can often be very fine-grained and internally contradictory. Likewise aesthetic judgments seem often to be at least partly intellectual and interpretative. What a thing means or symbolizes is often what is being judged. Modern aestheticians have asserted that will and desire were almost dormant in aesthetic experience, yet preference and choice have seemed important aesthetics to some 20th-century thinkers. The point

1152-446: A fact that may subconsciously condition males choosing mates. In 2008, other commentators have suggested that this preference may not be universal. For instance, in some non-Western cultures in which women have to do work such as finding food, men tend to have preferences for higher waist-hip ratios. Exposure to the thin ideal in mass media, such as fashion magazines, directly correlates with body dissatisfaction, low self-esteem, and

1280-417: A general definition of beauty and several authors take the opposite claim that such laws cannot be formulated, as part of their definition of beauty. A very common element in many conceptions of beauty is its relation to pleasure . Hedonism makes this relation part of the definition of beauty by holding that there is a necessary connection between pleasure and beauty, e.g. that for an object to be beautiful

1408-507: A great good, God dispenses it even to the wicked." Classical philosophy and sculptures of men and women produced according to the Greek philosophers ' tenets of ideal human beauty were rediscovered in Renaissance Europe, leading to a re-adoption of what became known as a "classical ideal". In terms of female human beauty, a woman whose appearance conforms to these tenets is still called

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1536-466: A group of researchers at the IBM T. J. Watson Research Center. The tool predicted aesthetics based on the values of narrative elements. A relation between Max Bense 's mathematical formulation of aesthetics in terms of "redundancy" and "complexity" and theories of musical anticipation was offered using the notion of Information Rate. Evolutionary aesthetics refers to evolutionary psychology theories in which

1664-489: A harmonious interplay between the faculties of understanding and imagination. A further question for hedonists is how to explain the relation between beauty and pleasure. This problem is akin to the Euthyphro dilemma : is something beautiful because we enjoy it or do we enjoy it because it is beautiful? Identity theorists solve this problem by denying that there is a difference between beauty and pleasure: they identify beauty, or

1792-594: A judgment about those sources of experience. It considers what happens in our minds when we engage with objects or environments such as viewing visual art, listening to music, reading poetry, experiencing a play, watching a fashion show, movie, sports or exploring various aspects of nature. The philosophy of art specifically studies how artists imagine, create, and perform works of art, as well as how people use, enjoy, and criticize art. Aesthetics considers why people like some works of art and not others, as well as how art can affect our moods and our beliefs. Both aesthetics and

1920-484: A man "if he says that ' Canary wine is pleasant,' he is quite content if someone else corrects his expression and remind him that he ought to say instead: 'It is pleasant to me ,'" because "every one has his own [ sense of] taste ". The case of "beauty" is different from mere "pleasantness" because "if he gives out anything as beautiful, he supposes in others the same satisfaction—he judges not merely for himself, but for every one, and speaks of beauty as if it were

2048-491: A necessary connection between pleasure and beauty, e.g. that for an object to be beautiful is for it to cause disinterested pleasure. Other conceptions include defining beautiful objects in terms of their value, of a loving attitude toward them or of their function. Beauty, together with art and taste, is the main subject of aesthetics , one of the major branches of philosophy. Beauty is usually categorized as an aesthetic property besides other properties, like grace, elegance or

2176-540: A particular conception of art that arose with the Renaissance and was still dominant in the eighteenth century (but was supplanted later). The discipline of aesthetics, which originated in the eighteenth century, mistook this transient state of affairs for a revelation of the permanent nature of art. Brian Massumi suggests to reconsider beauty following the aesthetical thought in the philosophy of Deleuze and Guattari . Walter Benjamin echoed Malraux in believing aesthetics

2304-613: A philosophical rationale for peace education . Beauty is one of the main subjects of aesthetics, together with art and taste . Many of its definitions include the idea that an object is beautiful if perceiving it is accompanied by aesthetic pleasure . Among the examples of beautiful objects are landscapes, sunsets, humans and works of art. Beauty is a positive aesthetic value that contrasts with ugliness as its negative counterpart. Different intuitions commonly associated with beauty and its nature are in conflict with each other, which poses certain difficulties for understanding it. On

2432-433: A physicist might entertain hypothetical worlds in his/her imagination in the course of formulating a theory. Another problem is that Dutton's categories seek to universalize traditional European notions of aesthetics and art forgetting that, as André Malraux and others have pointed out, there have been large numbers of cultures in which such ideas (including the idea "art" itself) were non-existent. Aesthetic ethics refers to

2560-422: A piece of art. In this field, aesthetics is not considered to be dependent on taste but is a matter of cognition, and, consequently, learning. In 1928, the mathematician George David Birkhoff created an aesthetic measure M = O / C {\displaystyle M=O/C} as the ratio of order to complexity. In the 1960s and 1970s, Max Bense , Abraham Moles and Frieder Nake were among

2688-547: A process akin to a category mistake , one treats one's subjective pleasure as an objective property of the beautiful thing. Other conceptions include defining beauty in terms of a loving or longing attitude toward the beautiful object or in terms of its usefulness or function. In 1871, functionalist Charles Darwin explained beauty as result of accumulative sexual selection in "The Descent of Man and Selection in Relation to Sex". The classical Greek noun that best translates to

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2816-548: A property of things." Viewer interpretations of beauty may on occasion be observed to possess two concepts of value: aesthetics and taste. Aesthetics is the philosophical notion of beauty. Taste is a result of an education process and awareness of elite cultural values learned through exposure to mass culture . Bourdieu examined how the elite in society define the aesthetic values like taste and how varying levels of exposure to these values can result in variations by class, cultural background, and education. According to Kant, beauty

2944-524: A rise in an interest in beauty as a philosophical subject. For example, Scottish philosopher Francis Hutcheson argued that beauty is " unity in variety and variety in unity". He wrote that beauty was neither purely subjective nor purely objective—it could be understood not as "any Quality suppos'd to be in the Object, which should of itself be beautiful, without relation to any Mind which perceives it: For Beauty, like other Names of sensible Ideas, properly denotes

3072-424: A thing designed according to some principle and fitted for a purpose. He distinguished "free beauty" from "merely adherent beauty", explaining that "the first presupposes no concept of what the object ought to be; the second does presuppose such a concept and the perfection of the object in accordance therewith." By this definition, free beauty is found in seashells and wordless music; adherent beauty in buildings and

3200-431: A thing in itself. The ascent of love begins with one's own body, then secondarily, in appreciating beauty in another's body, thirdly beauty in the soul, which cognates to beauty in the mind in the modern sense, fourthly beauty in institutions, laws and activities, fifthly beauty in knowledge, the sciences, and finally to lastly love beauty itself, which translates to the original Greek language term as auto to kalon . In

3328-453: A virtuous personality to be the greatest of beauties: In his philosophy, "a neighborhood with a ren man in it is a beautiful neighborhood." Confucius's student Zeng Shen expressed a similar idea: "few men could see the beauty in some one whom they dislike." Mencius considered "complete truthfulness" to be beauty. Zhu Xi said: "When one has strenuously implemented goodness until it is filled to completion and has accumulated truth, then

3456-430: A wide range of different standards for beauty. A strong indicator of physical beauty is " averageness ". When images of human faces are averaged together to form a composite image, they become progressively closer to the "ideal" image and are perceived as more attractive. This was first noticed in 1883, when Francis Galton overlaid photographic composite images of the faces of vegetarians and criminals to see if there

3584-408: A work, though possibly of interest in themselves, have no bearing on the correct interpretation of the work." Gaut and Livingston define the intentionalists as distinct from formalists stating that: "Intentionalists, unlike formalists, hold that reference to intentions is essential in fixing the correct interpretation of works." They quote Richard Wollheim as stating that, "The task of criticism

3712-407: Is a mind-independent feature of things. On this account, the beauty of a landscape is independent of who perceives it or whether it is perceived at all. Disagreements may be explained by an inability to perceive this feature, sometimes referred to as a "lack of taste". Subjectivism, on the other hand, denies the mind-independent existence of beauty. Influential for the development of this position

3840-524: Is actually continuous with older aesthetic theory; Aristotle was the first in the Western tradition to classify "beauty" into types as in his theory of drama, and Kant made a distinction between beauty and the sublime. What was new was a refusal to credit the higher status of certain types, where the taxonomy implied a preference for tragedy and the sublime to comedy and the Rococo . Croce suggested that "expression"

3968-550: Is already made by Hume , but see Mary Mothersill, "Beauty and the Critic's Judgment", in The Blackwell Guide to Aesthetics , 2004. Thus aesthetic judgments might be seen to be based on the senses, emotions, intellectual opinions, will, desires, culture, preferences, values, subconscious behaviour, conscious decision, training, instinct, sociological institutions, or some complex combination of these, depending on exactly which theory

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4096-685: Is associated with activity in the medial orbitofrontal cortex . This approach of localizing the processing of beauty in one brain region has received criticism within the field. Philosopher and novelist Umberto Eco wrote On Beauty: A History of a Western Idea (2004) and On Ugliness (2007). The narrator of his novel The Name of the Rose follows Aquinas in declaring: "three things concur in creating beauty: first of all integrity or perfection, and for this reason, we consider ugly all incomplete things; then proper proportion or consonance; and finally clarity and light", before going on to say "the sight of

4224-427: Is central in the way that beauty was once thought to be central. George Dickie suggested that the sociological institutions of the art world were the glue binding art and sensibility into unities. Marshall McLuhan suggested that art always functions as a "counter-environment" designed to make visible what is usually invisible about a society. Theodor Adorno felt that aesthetics could not proceed without confronting

4352-455: Is commonly described as a feature of objects that makes them pleasurable to perceive. Such objects include landscapes, sunsets, humans and works of art. Beauty, art and taste are the main subjects of aesthetics , one of the fields of study within philosophy . As a positive aesthetic value, it is contrasted with ugliness as its negative counterpart. One difficulty in understanding beauty is that it has both objective and subjective aspects: it

4480-569: Is difficult to give a general and detailed description of what is meant by "harmony between parts" and raises the suspicion that defining beauty through harmony results in exchanging one unclear term for another one. Some attempts have been made to dissolve this suspicion by searching for laws of beauty , like the golden ratio . 18th century philosopher Alexander Baumgarten , for example, saw laws of beauty in analogy with laws of nature and believed that they could be discovered through empirical research. As of 2003, these attempts have failed to find

4608-696: Is employed. A third major topic in the study of aesthetic judgments is how they are unified across art forms. For instance, the source of a painting's beauty has a different character to that of beautiful music, suggesting their aesthetics differ in kind. The distinct inability of language to express aesthetic judgment and the role of social construction further cloud this issue. The philosopher Denis Dutton identified six universal signatures in human aesthetics: Artists such as Thomas Hirschhorn have indicated that there are too many exceptions to Dutton's categories. For example, Hirschhorn's installations deliberately eschew technical virtuosity. People can appreciate

4736-442: Is for it to cause disinterested pleasure. Other conceptions include defining beautiful objects in terms of their value, of a loving attitude towards them or of their function. During the first half of the twentieth century, a significant shift to general aesthetic theory took place which attempted to apply aesthetic theory between various forms of art, including the literary arts and the visual arts, to each other. This resulted in

4864-411: Is for it to cause pleasure or that the experience of beauty is always accompanied by pleasure. This account is sometimes labeled as "aesthetic hedonism" in order to distinguish it from other forms of hedonism . An influential articulation of this position comes from Thomas Aquinas , who treats beauty as "that which pleases in the very apprehension of it". Immanuel Kant explains this pleasure through

4992-555: Is in comedy, but remains infinitely supple and perpetually in motion. Gracefulness is often referenced by simile , for example with people being described as "graceful as a swan ", or "as graceful as a ballerina ". The concept of gracefulness is applied both to movement, and to inanimate objects. For example, certain trees are commonly referred to as being "graceful", such as the Betula albosinensis , Prunus × yedoensis (Yoshino cherry), and Areca catechu (betel-nut palm). Gracefulness

5120-451: Is most clearly suggested in Bergson 's use of the word 'gracefulness' [ la grâce ]. Gracefulness is not imposed from without but generated from within. Gracefulness is 'the immateriality which... passes into matter.' In this formulation, the soul, or what Bergson elsewhere calls the élan vital , the life force, shapes the matter that contains it. The soul is not immobilized by matter, as it

5248-458: Is no general agreement on how "ideal observers" are to be defined, but it is usually assumed that they are experienced judges of beauty with a fully developed sense of taste. This suggests an indirect way of solving the antinomy of taste : instead of looking for necessary and sufficient conditions of beauty itself, one can learn to identify the qualities of good critics and rely on their judgments. This approach only works if unanimity among experts

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5376-528: Is possible despite the fact that beauty is a mind-dependent property, dependent not on an individual but a group. A closely related theory sees beauty as a secondary or response-dependent property . On one such account, an object is beautiful "if it causes pleasure by virtue of its aesthetic properties". The problem that different people respond differently can be addressed by combining response-dependence theories with so-called ideal-observer theories : it only matters how an ideal observer would respond. There

5504-412: Is seen as a property of things but also as depending on the emotional response of observers. Because of its subjective side, beauty is said to be "in the eye of the beholder". It has been argued that the ability on the side of the subject needed to perceive and judge beauty, sometimes referred to as the "sense of taste", can be trained and that the verdicts of experts coincide in the long run. This suggests

5632-536: Is sometimes also attributed to non-corporeal human actions, such as the use of language ("a graceful turn of phrase") or the control of emotion ("accepting defeat gracefully"). Gracefulness is sometimes confused with gracility , or slenderness , although the latter word is derived from a different root, the Latin adjective gracilis ( masculine or feminine ), or gracile ( neuter ) which in either form means slender, and when transferred for example to discourse, takes

5760-484: Is sometimes discussed under the label " antinomy of taste". It has prompted various philosophers to seek a unified theory that can take all these intuitions into account. One promising route to solve this problem is to move from subjective to intersubjective theories , which hold that the standards of validity of judgments of taste are intersubjective or dependent on a group of judges rather than objective. This approach tries to explain how genuine disagreement about beauty

5888-499: Is sometimes equated with truth. Recent research found that people use beauty as an indication for truth in mathematical pattern tasks. However, scientists including the mathematician David Orrell and physicist Marcelo Gleiser have argued that the emphasis on aesthetic criteria such as symmetry is equally capable of leading scientists astray. Computational approaches to aesthetics emerged amid efforts to use computer science methods "to predict, convey, and evoke emotional response to

6016-422: Is subjective and universal; thus certain things are beautiful to everyone. In the opinion of Władysław Tatarkiewicz , there are six conditions for the presentation of art: beauty, form, representation, reproduction of reality, artistic expression and innovation. However, one may not be able to pin down these qualities in a work of art. The question of whether there are facts about aesthetic judgments belongs to

6144-510: Is that all the magic of grace consists, and what is called its je ne sais quoi ; as will be obvious to any observer, who considers attentively the Venus de Medicis, the Antinous, or any statue generally allowed to be graceful in an high degree. The difficulty in defining exactly what constitutes gracefulness is described in this analysis of Henri Bergson 's use of the term: The organic form of drama

6272-581: Is that between adherent beauty ( pulchritudo adhaerens ) and free beauty ( pulchritudo vaga ). A thing has adherent beauty if its beauty depends on the conception or function of this thing, unlike free or absolute beauty. Examples of adherent beauty include an ox which is beautiful as an ox but not beautiful as a horse or a photograph which is beautiful, because it depicts a beautiful building but that lacks beauty generally speaking because of its low quality. Judgments of beauty seem to occupy an intermediary position between objective judgments, e.g. concerning

6400-447: Is that judgments of beauty seem to be based on subjective grounds, namely our feelings, while claiming universal correctness at the same time. This tension is sometimes referred to as the "antinomy of taste". Adherents of both sides have suggested that a certain faculty, commonly called a sense of taste , is necessary for making reliable judgments about beauty. David Hume , for example, suggests that this faculty can be trained and that

6528-532: Is the reconstruction of the creative process, where the creative process must in turn be thought of as something not stopping short of, but terminating on, the work of art itself." A large number of derivative forms of aesthetics have developed as contemporary and transitory forms of inquiry associated with the field of aesthetics which include the post-modern, psychoanalytic, scientific, and mathematical among others. Early-twentieth-century artists, poets and composers challenged existing notions of beauty, broadening

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6656-480: Is true for all cases. For example, a cold jaded critic may still be a good judge of beauty because of her years of experience but lack the joy that initially accompanied her work. One way to avoid this objection is to allow responses to beautiful things to lack pleasure while insisting that all beautiful things merit pleasure, that aesthetic pleasure is the only appropriate response to them. G. E. Moore explained beauty in regard to intrinsic value as "that of which

6784-483: Is usually defined as 'primitive' art, or un-harmonious, non-cathartic art, camp art, which 'beauty' posits and creates, dichotomously, as its opposite, without even the need of formal statements, but which will be 'perceived' as ugly. Likewise, aesthetic judgments may be culturally conditioned to some extent. Victorians in Britain often saw African sculpture as ugly, but just a few decades later, Edwardian audiences saw

6912-467: The Perception of some mind; ... however we generally imagine that there is something in the Object just like our Perception." Immanuel Kant believed that there could be no "universal criterion of the beautiful" and that the experience of beauty is subjective, but that an object is judged to be beautiful when it seems to display "purposiveness"; that is, when its form is perceived to have the character of

7040-579: The absence of genetic or acquired defects . Since the 1970s there has been increasing evidence that a preference for beautiful faces emerges early in infancy, and is probably innate, and that the rules by which attractiveness is established are similar across different genders and cultures. A feature of beautiful women which has been explored by researchers is a waist–hip ratio of approximately 0.70. As of 2004, physiologists had shown that women with hourglass figures were more fertile than other women because of higher levels of certain female hormones,

7168-513: The awe inspired by a sublime landscape might physically manifest with an increased heart-rate or pupil dilation. As seen, emotions are conformed to 'cultural' reactions, therefore aesthetics is always characterized by 'regional responses', as Francis Grose was the first to affirm in his Rules for Drawing Caricaturas: With an Essay on Comic Painting (1788), published in W. Hogarth, The Analysis of Beauty, Bagster, London s.d. (1791? [1753]), pp. 1–24. Francis Grose can therefore be claimed to be

7296-412: The entropy , which assigns higher value to simpler artworks. In the 1990s, Jürgen Schmidhuber described an algorithmic theory of beauty. This theory takes the subjectivity of the observer into account and postulates that among several observations classified as comparable by a given subjective observer, the most aesthetically pleasing is the one that is encoded by the shortest description, following

7424-407: The sublime . As a positive aesthetic value, beauty is contrasted with ugliness as its negative counterpart. Beauty is often listed as one of the three fundamental concepts of human understanding besides truth and goodness . Objectivists or realists see beauty as an objective or mind-independent feature of beautiful things, which is denied by subjectivists . The source of this debate

7552-471: The "Uncanny" as aesthetical affect. Following Freud and Merleau-Ponty , Jacques Lacan theorized aesthetics in terms of sublimation and the Thing. The relation of Marxist aesthetics to post-modern aesthetics is still a contentious area of debate. The field of experimental aesthetics was founded by Gustav Theodor Fechner in the 19th century. Experimental aesthetics in these times had been characterized by

7680-399: The "full field" of aesthetics is broad, but in a narrow sense it can be limited to the theory of beauty, excluding the philosophy of art. Aesthetics typically considers questions of beauty as well as of art. It examines topics such as art works, aesthetic experience, and aesthetic judgment. Aesthetic experience refers to the sensory contemplation or appreciation of an object (not necessarily

7808-535: The English-language words "beauty" or "beautiful" was κάλλος , kallos , and the adjective was καλός, kalos . This is also translated as "good" or "of fine quality" and thus has a broader meaning than mere physical or material beauty. Similarly, kallos was used differently from the English word beauty in that it first and foremost applied to humans and bears an erotic connotation. The Koine Greek word for beautiful

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7936-466: The Idea ( Form ) above all other Ideas. Platonic thought synthesized beauty with the divine . Scruton (cited: Konstan) states Plato states of the idea of beauty, of it (the idea), being something inviting desirousness (c.f seducing ), and, promotes an intellectual renunciation (c.f. denouncing ) of desire. For Alexander Nehamas , it is only the locating of desire to which the sense of beauty exists, in

8064-497: The PQD is strongly present in the object. Elaine Scarry argues that beauty is related to justice. Beauty is also studied by psychologists and neuroscientists in the field of experimental aesthetics and neuroesthetics respectively. Psychological theories see beauty as a form of pleasure . Correlational findings support the view that more beautiful objects are also more pleasing. Some studies suggest that higher experienced beauty

8192-421: The admiring contemplation is good in itself". This definition connects beauty to experience while managing to avoid some of the problems usually associated with subjectivist positions since it allows that things may be beautiful even if they are never experienced. Another subjectivist theory of beauty comes from George Santayana , who suggested that we project pleasure onto the things we call "beautiful". So in

8320-407: The aesthetic experience. Aesthetics is for the artist as ornithology is for the birds. Aesthetics examines affective domain response to an object or phenomenon. Judgements of aesthetic value rely on the ability to discriminate at a sensory level. However, aesthetic judgments usually go beyond sensory discrimination. For David Hume , delicacy of taste is not merely "the ability to detect all

8448-476: The appearance of it, with the experience of aesthetic pleasure. Hedonists usually restrict and specify the notion of pleasure in various ways in order to avoid obvious counterexamples. One important distinction in this context is the difference between pure and mixed pleasure . Pure pleasure excludes any form of pain or unpleasant feeling while the experience of mixed pleasure can include unpleasant elements. But beauty can involve mixed pleasure, for example, in

8576-410: The artist. In 1946, William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled " The Intentional Fallacy ", in which they argued strongly against the relevance of an author's intention , or "intended meaning" in the analysis of a literary work. For Wimsatt and Beardsley, the words on the page were all that mattered; importation of meanings from outside

8704-586: The basic aesthetic preferences of Homo sapiens are argued to have evolved in order to enhance survival and reproductive success. One example being that humans are argued to find beautiful and prefer landscapes which were good habitats in the ancestral environment. Another example is that body symmetry and proportion are important aspects of physical attractiveness which may be due to this indicating good health during body growth. Evolutionary explanations for aesthetical preferences are important parts of evolutionary musicology , Darwinian literary studies , and

8832-467: The beautiful implies peace". Mike Phillips has described Umberto Eco's On Beauty as "incoherent" and criticized him for focusing only on Western European history and devoting none of his book to Eastern European, Asian, or African history. Amy Finnerty described Eco's work On Ugliness favorably. Chinese philosophy has traditionally not made a separate discipline of the philosophy of beauty. Confucius identified beauty with goodness, and considered

8960-712: The beauty will reside within it and will not depend on externals." The word "beauty" is often used as a countable noun to describe a beautiful woman. The characterization of a person as "beautiful", whether on an individual basis or by community consensus, is often based on some combination of inner beauty , which includes psychological factors such as personality , intelligence , grace , politeness , charisma , integrity , congruence and elegance , and outer beauty (i.e. physical attractiveness ) which includes physical attributes which are valued on an aesthetic basis. Standards of beauty have changed over time, based on changing cultural values. Historically, paintings show

9088-580: The branch of metaphilosophy known as meta-aesthetics . Aesthetic judgment is closely tied to disgust . Responses like disgust show that sensory detection is linked in instinctual ways to facial expressions including physiological responses like the gag reflex . Disgust is triggered largely by dissonance ; as Darwin pointed out, seeing a stripe of soup in a man's beard is disgusting even though neither soup nor beards are themselves disgusting. Aesthetic judgments may be linked to emotions or, like emotions, partially embodied in physical reactions. For example,

9216-415: The case of a beautifully tragic story, which is why mixed pleasure is usually allowed in hedonist conceptions of beauty. Another problem faced by hedonist theories is that we take pleasure from many things that are not beautiful. One way to address this issue is to associate beauty with a special type of pleasure: aesthetic or disinterested pleasure . A pleasure is disinterested if it is indifferent to

9344-627: The classical standard of beauty, as sublime. The 20th century saw an increasing rejection of beauty by artists and philosophers alike, culminating in postmodernism 's anti-aesthetics. This is despite beauty being a central concern of one of postmodernism's main influences, Friedrich Nietzsche , who argued that the Will to Power was the Will to Beauty. In the aftermath of postmodernism's rejection of beauty, thinkers have returned to beauty as an important value. American analytic philosopher Guy Sircello proposed his New Theory of Beauty as an effort to reaffirm

9472-443: The concept belonged often within the discipline of mathematics. An idea of spiritual beauty emerged during the classical period , beauty was something embodying divine goodness, while the demonstration of behaviour which might be classified as beautiful, from an inner state of morality which is aligned to the good . The writing of Xenophon shows a conversation between Socrates and Aristippus . Socrates discerned differences in

9600-404: The conception of the beautiful, for example, in inanimate objects, the effectiveness of execution of design was a deciding factor on the perception of beauty in something. By the account of Xenophon, Socrates found beauty congruent with that to which was defined as the morally good, in short, he thought beauty coincident with the good . Beauty is a subject of Plato in his work Symposium . In

9728-461: The considerations of Plato. Aristotle defines beauty in Metaphysics as having order, symmetry and definiteness which the mathematical sciences exhibit to a special degree . He saw a relationship between the beautiful ( to kalon ) and virtue, arguing that "Virtue aims at the beautiful." In De Natura Deorum , Cicero wrote: "the splendour and beauty of creation", in respect to this, and all

9856-446: The development of eating disorders among female viewers. Further, the widening gap between individual body sizes and societal ideals continues to breed anxiety among young girls as they grow, highlighting the dangerous nature of beauty standards in society. A study using Chinese immigrants and Hispanic , Black and White American citizens found that their ideals of female beauty were not significantly different. Participants in

9984-634: The direction of previous approaches. Schmidhuber's theory explicitly distinguishes between that which is beautiful and that which is interesting , stating that interestingness corresponds to the first derivative of subjectively perceived beauty. He supposes that every observer continually tries to improve the predictability and compressibility of their observations by identifying regularities like repetition, symmetry , and fractal self-similarity . Since about 2005, computer scientists have attempted to develop automated methods to infer aesthetic quality of images. Typically, these approaches follow

10112-470: The existence of the beautiful object or if it did not arise owing to an antecedent desire through means-end reasoning. For example, the joy of looking at a beautiful landscape would still be valuable if it turned out that this experience was an illusion, which would not be true if this joy was due to seeing the landscape as a valuable real estate opportunity. Opponents of hedonism usually concede that many experiences of beauty are pleasurable but deny that this

10240-507: The facets of reality resulting from creation, he postulated these to be a reason to see the existence of a God as creator . In the Middle Ages , Catholic philosophers like Thomas Aquinas included beauty among the transcendental attributes of being . In his Summa Theologica , Aquinas described the three conditions of beauty as: integritas (wholeness), consonantia (harmony and proportion), and claritas (a radiance and clarity that makes

10368-630: The fields of cognitive psychology ( aesthetic cognitivism ) or neuroscience ( neuroaesthetics ). Mathematical considerations, such as symmetry and complexity , are used for analysis in theoretical aesthetics. This is different from the aesthetic considerations of applied aesthetics used in the study of mathematical beauty . Aesthetic considerations such as symmetry and simplicity are used in areas of philosophy, such as ethics and theoretical physics and cosmology to define truth , outside of empirical considerations. Beauty and Truth have been argued to be nearly synonymous, as reflected in

10496-535: The final state, auto to kalon and truth are united as one. There is the sense in the text, concerning love and beauty they both co-exist but are still independent or, in other words, mutually exclusive, since love does not have beauty since it seeks beauty. The work toward the end provides a description of beauty in a negative sense. Plato also discusses beauty in his work Phaedrus , and identifies Alcibiades as beautiful in Parmenides . He considered beauty to be

10624-489: The first critical 'aesthetic regionalist' in proclaiming the anti-universality of aesthetics in contrast to the perilous and always resurgent dictatorship of beauty. 'Aesthetic Regionalism' can thus be seen as a political statement and stance which vies against any universal notion of beauty to safeguard the counter-tradition of aesthetics related to what has been considered and dubbed un-beautiful just because one's culture does not contemplate it, e.g. Edmund Burke's sublime, what

10752-451: The first to analyze links between aesthetics, information processing , and information theory . Max Bense, for example, built on Birkhoff's aesthetic measure and proposed a similar information theoretic measure M a ¨ = R / H {\displaystyle M_{\ddot {a}}=R/H} , where R {\displaystyle R} is the redundancy and H {\displaystyle H}

10880-532: The form of a thing apparent to the mind). In the Gothic Architecture of the High and Late Middle Ages , light was considered the most beautiful revelation of God , which was heralded in design. Examples are the stained glass of Gothic Cathedrals including Notre-Dame de Paris and Chartres Cathedral . St. Augustine said of beauty "Beauty is indeed a good gift of God; but that the good may not think it

11008-429: The forms differ in their manner of imitation – through narrative or character, through change or no change, and through drama or no drama. Erich Auerbach has extended the discussion of history of aesthetics in his book titled Mimesis . Some writers distinguish aesthetics from the philosophy of art, claiming that the former is the study of beauty and taste while the latter is the study of works of art. Slater holds that

11136-515: The human body. The Romantic poets, too, became highly concerned with the nature of beauty, with John Keats arguing in Ode on a Grecian Urn that: In the Romantic period, Edmund Burke postulated a difference between beauty in its classical meaning and the sublime . The concept of the sublime, as explicated by Burke and Kant , suggested viewing Gothic art and architecture, though not in accordance with

11264-402: The idea that human conduct and behaviour ought to be governed by that which is beautiful and attractive. John Dewey has pointed out that the unity of aesthetics and ethics is in fact reflected in our understanding of behaviour being "fair"—the word having a double meaning of attractive and morally acceptable. More recently, James Page has suggested that aesthetic ethics might be taken to form

11392-546: The ingredients in a composition", but also the sensitivity "to pains as well as pleasures, which escape the rest of mankind." Thus, sensory discrimination is linked to capacity for pleasure . For Immanuel Kant ( Critique of Judgment , 1790), "enjoyment" is the result when pleasure arises from sensation, but judging something to be "beautiful" has a third requirement: sensation must give rise to pleasure by engaging reflective contemplation. Judgements of beauty are sensory, emotional and intellectual all at once. Kant observed of

11520-487: The leading theorists from this school, Stanley Fish , was himself trained by New Critics. Fish criticizes Wimsatt and Beardsley in his essay "Literature in the Reader" (1970). As summarized by Berys Gaut and Livingston in their essay "The Creation of Art": "Structuralist and post-structuralists theorists and critics were sharply critical of many aspects of New Criticism, beginning with the emphasis on aesthetic appreciation and

11648-438: The mass and shape of a grapefruit, and subjective likes, e.g. concerning whether the grapefruit tastes good. Judgments of beauty differ from the former because they are based on subjective feelings rather than objective perception. But they also differ from the latter because they lay claim on universal correctness. This tension is also reflected in common language. On the one hand, we talk about beauty as an objective feature of

11776-456: The mimetic arts possesses what Stephen Halliwell calls "highly structured procedures for the achievement of their purposes." For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly,

11904-410: The nature of beauty and the nature of taste and, in a broad sense, incorporates the philosophy of art . Aesthetics examines the philosophy of aesthetic value, which is determined by critical judgments of artistic taste; thus, the function of aesthetics is the "critical reflection on art, culture and nature ". Aesthetics studies natural and artificial sources of experiences and how people form

12032-416: The objective side of beauty by defining it in terms of the relation between the beautiful object as a whole and its parts: the parts should stand in the right proportion to each other and thus compose an integrated harmonious whole. Hedonist conceptions , on the other hand, focus more on the subjective side by drawing a necessary connection between pleasure and beauty, e.g. that for an object to be beautiful

12160-448: The observer. One way to achieve this is to hold that an object is beautiful if it has the power to bring about certain aesthetic experiences in the perceiving subject. This is often combined with the view that the subject needs to have the ability to correctly perceive and judge beauty, sometimes referred to as "sense of taste". Various conceptions of how to define and understand beauty have been suggested. Classical conceptions emphasize

12288-403: The one hand, beauty is ascribed to things as an objective, public feature. On the other hand, it seems to depend on the subjective, emotional response of the observer. It is said, for example, that "beauty is in the eye of the beholder". It may be possible to reconcile these intuitions by affirming that it depends both on the objective features of the beautiful thing and the subjective response of

12416-456: The order was determined using fractal compression. There is also the case of the Acquine engine, developed at Penn State University , that rates natural photographs uploaded by users. There have also been relatively successful attempts with regard to chess and music. Computational approaches have also been attempted in film making as demonstrated by a software model developed by Chitra Dorai and

12544-466: The parts should stand in the right proportion to each other and thus compose an integrated harmonious whole. On this account, which found its most explicit articulation in the Italian Renaissance , the beauty of a human body, for example, depends, among other things, on the right proportion of the different parts of the body and on the overall symmetry. One problem with this conception is that it

12672-426: The perception of artwork; artworks presented in a classical museum context are liked more and rated more interesting than when presented in a sterile laboratory context. While specific results depend heavily on the style of the presented artwork, overall, the effect of context proved to be more important for the perception of artwork than the effect of genuineness (whether the artwork was being presented as original or as

12800-477: The philosophy of art as aesthetics covering the visual arts, the literary arts, the musical arts and other artists forms of expression can be dated back at least to Aristotle and the ancient Greeks. Aristotle writing of the literary arts in his Poetics stated that epic poetry , tragedy, comedy, dithyrambic poetry , painting, sculpture, music, and dance are all fundamentally acts of mimesis , each varying in imitation by medium, object, and manner. Aristotle applies

12928-523: The philosophy of art try to find answers to what exactly is art and what makes good art. The word aesthetic is derived from the Ancient Greek αἰσθητικός ( aisthētikós , "perceptive, sensitive, pertaining to sensory perception"), which in turn comes from αἰσθάνομαι ( aisthánomai , "I perceive, sense, learn") and is related to αἴσθησις ( aísthēsis , "perception, sensation"). Aesthetics in this central sense has been said to start with

13056-406: The poem" ) in 1735; Baumgarten chose "aesthetics" because he wished to emphasize the experience of art as a means of knowing. Baumgarten's definition of aesthetics in the fragment Aesthetica (1750) is occasionally considered the first definition of modern aesthetics. The term was introduced into the English language by Thomas Carlyle in his Life of Friedrich Schiller (1825). The history of

13184-407: The presence of beauty in universal terms, which is, as existing in a cosmological state, they observed beauty in the heavens . They saw a strong connection between mathematics and beauty. In particular, they noted that objects proportioned according to the golden ratio seemed more attractive. The classical concept of beauty is one that exhibits perfect proportion (Wolfflin). In this context,

13312-432: The product of rational order and harmonious proportions. Renaissance artists and architects (such as Giorgio Vasari in his "Lives of Artists") criticised the Gothic period as irrational and barbarian. This point of view of Gothic art lasted until Romanticism, in the 19th century. Vasari aligned himself to the classical notion and thought of beauty as defined as arising from proportion and order. The Age of Reason saw

13440-465: The rise of the New Criticism school and debate concerning the intentional fallacy . At issue was the question of whether the aesthetic intentions of the artist in creating the work of art, whatever its specific form, should be associated with the criticism and evaluation of the final product of the work of art, or, if the work of art should be evaluated on its own merits independent of the intentions of

13568-520: The role of the culture industry in the commodification of art and aesthetic experience. Hal Foster attempted to portray the reaction against beauty and Modernist art in The Anti-Aesthetic: Essays on Postmodern Culture . Arthur Danto has described this reaction as "kalliphobia" (after the Greek word for beauty, κάλλος kallos ). André Malraux explains that the notion of beauty was connected to

13696-419: The same object may produce very different ideas in distinct observers. The notion of "taste" can still be used to explain why different people disagree about what is beautiful, but there is no objectively right or wrong taste, there are just different tastes. The problem with both the objectivist and the subjectivist position in their extreme form is that each has to deny some intuitions about beauty. This issue

13824-530: The same sculptures as beautiful. Evaluations of beauty may well be linked to desirability, perhaps even to sexual desirability. Thus, judgments of aesthetic value can become linked to judgments of economic, political, or moral value. In a current context, a Lamborghini might be judged to be beautiful partly because it is desirable as a status symbol, or it may be judged to be repulsive partly because it signifies over-consumption and offends political or moral values. The context of its presentation also affects

13952-439: The scope of art and aesthetics. In 1941, Eli Siegel , American philosopher and poet, founded Aesthetic Realism , the philosophy that reality itself is aesthetic, and that "The world, art, and self explain each other: each is the aesthetic oneness of opposites." Various attempts have been made to define Post-Modern Aesthetics. The challenge to the assumption that beauty was central to art and aesthetics, thought to be original,

14080-466: The sense of "without ornament", "simple", or various similar connotations . The Shorter Oxford English Dictionary remarks of gracility, for example: "Recently misused (through association with grace ) for Gracefully slender." The terms gracile and grace are completely unrelated: the etymological root of grace is the Latin word gratia from gratus , meaning pleasing and has nothing to do with slenderness or thinness. Beauty Beauty

14208-543: The series of articles on "The Pleasures of the Imagination", which the journalist Joseph Addison wrote in the early issues of the magazine The Spectator in 1712. The term aesthetics was appropriated and coined with new meaning by the German philosopher Alexander Baumgarten in his dissertation Meditationes philosophicae de nonnullis ad poema pertinentibus (English: "Philosophical considerations of some matters pertaining

14336-400: The so-called autonomy of art, but they reiterated the attack on biographical criticisms' assumption that the artist's activities and experience were a privileged critical topic." These authors contend that: "Anti-intentionalists, such as formalists, hold that the intentions involved in the making of art are irrelevant or peripheral to correctly interpreting art. So details of the act of creating

14464-486: The standards of validity of judgments of beauty are intersubjective, i.e. dependent on a group of judges, rather than fully subjective or objective. Conceptions of beauty aim to capture what is essential to all beautiful things. Classical conceptions define beauty in terms of the relation between the beautiful object as a whole and its parts: the parts should stand in the right proportion to each other and thus compose an integrated harmonious whole. Hedonist conceptions see

14592-474: The statement "Beauty is truth, truth beauty" in the poem " Ode on a Grecian Urn " by John Keats , or by the Hindu motto "Satyam Shivam Sundaram" (Satya (Truth) is Shiva (God), and Shiva is Sundaram (Beautiful)). The fact that judgments of beauty and judgments of truth both are influenced by processing fluency , which is the ease with which information can be processed, has been presented as an explanation for why beauty

14720-437: The status of beauty as an important philosophical concept. He rejected the subjectivism of Kant and sought to identify the properties inherent in an object that make it beautiful. He called qualities such as vividness, boldness, and subtlety "properties of qualitative degree" (PQDs) and stated that a PQD makes an object beautiful if it is not—and does not create the appearance of—"a property of deficiency, lack, or defect"; and if

14848-465: The study rated Asian and Latina women as more attractive than White and Black women , and it was found that Asian and Latina women had more of the attributes that were considered attractive for women. Exposure to Western media did not influence or improve the Asian men's ratings of White women. Aesthetics Aesthetics (also spelled esthetics ) is the branch of philosophy concerned with

14976-427: The term mimesis both as a property of a work of art and also as the product of the artist's intention and contends that the audience's realisation of the mimesis is vital to understanding the work itself. Aristotle states that mimesis is a natural instinct of humanity that separates humans from animals and that all human artistry "follows the pattern of nature". Because of this, Aristotle believed that each of

15104-430: The text was considered irrelevant, and potentially distracting. In another essay, " The Affective Fallacy ," which served as a kind of sister essay to "The Intentional Fallacy", Wimsatt and Beardsley also discounted the reader's personal/emotional reaction to a literary work as a valid means of analyzing a text. This fallacy would later be repudiated by theorists from the reader-response school of literary theory. One of

15232-498: The verdicts of experts coincide in the long run. Beauty is mainly discussed in relation to concrete objects accessible to sensory perception. It has been suggested that the beauty of a thing supervenes on the sensory features of this thing. It has also been proposed that abstract objects like stories or mathematical proofs can be beautiful. Beauty plays a central role in works of art and nature. An influential distinction among beautiful things, according to Immanuel Kant ,

15360-400: The work, the high priestess Diotima describes how beauty moves out from a core singular appreciation of the body to outer appreciations via loved ones, to the world in its state of culture and society (Wright). In other words, Diotoma gives to Socrates an explanation of how love should begin with erotic attachment , and end with the transcending of the physical to an appreciation of beauty as

15488-430: The works of early Greek philosophers from the pre-Socratic period, such as Pythagoras , who conceived of beauty as useful for a moral education of the soul. He wrote of how people experience pleasure when aware of a certain type of formal situation present in reality, perceivable by sight or through the ear and discovered the underlying mathematical ratios in the harmonic scales in music. The Pythagoreans conceived of

15616-423: The world that is ascribed, for example, to landscapes, paintings or humans. The subjective side, on the other hand, is expressed in sayings like "beauty is in the eye of the beholder". These two positions are often referred to as objectivism (or realism ) and subjectivism . Objectivism is the traditional view, while subjectivism developed more recently in western philosophy . Objectivists hold that beauty

15744-550: Was pulchrum ( Latin ). Beauty for ancient thinkers existed both in form , which is the material world as it is, and as embodied in the spirit, which is the world of mental formations. Greek mythology mentions Helen of Troy as the most beautiful woman. Ancient Greek architecture is based on this view of symmetry and proportion . In one fragment of Heraclitus's writings ( Fragment 106 ) he mentions beauty, this reads: "To God all things are beautiful, good, right..." The earliest Western theory of beauty can be found in

15872-423: Was John Locke 's distinction between primary qualities , which the object has independent of the observer, and secondary qualities , which constitute powers in the object to produce certain ideas in the observer. When applied to beauty, there is still a sense in which it depends on the object and its powers. But this account makes the possibility of genuine disagreements about claims of beauty implausible, since

16000-737: Was a comparatively recent invention, a view proven wrong in the late 1970s, when Abraham Moles and Frieder Nake analyzed links between beauty, information processing, and information theory. Denis Dutton in "The Art Instinct" also proposed that an aesthetic sense was a vital evolutionary factor. Jean-François Lyotard re-invokes the Kantian distinction between taste and the sublime . Sublime painting, unlike kitsch realism , "... will enable us to see only by making it impossible to see; it will please only by causing pain." Sigmund Freud inaugurated aesthetical thinking in Psychoanalysis mainly via

16128-534: Was a typical facial appearance for each. When doing this, he noticed that the composite images were more attractive as compared to any of the individual images. Researchers have replicated the result under more controlled conditions and found that the computer-generated, mathematical average of a series of faces is rated more favorably than individual faces. It is argued that it is evolutionarily advantageous that sexual creatures are attracted to mates who possess predominantly common or average features, because it suggests

16256-419: Was ensured. But even experienced judges may disagree in their judgments, which threatens to undermine ideal-observer theories. Various conceptions of the essential features of beautiful things have been proposed but there is no consensus as to which is the right one. The "classical conception" (see Classicism ) defines beauty in terms of the relation between the beautiful object as a whole and its parts :

16384-493: Was ὡραῖος, hōraios , an adjective etymologically coming from the word ὥρα, hōra , meaning "hour". In Koine Greek, beauty was thus associated with "being of one's hour". Thus, a ripe fruit (of its time) was considered beautiful, whereas a young woman trying to appear older or an older woman trying to appear younger would not be considered beautiful. In Attic Greek, hōraios had many meanings, including "youthful" and "ripe old age". Another classical term in use to describe beauty

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