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Articles

Why Has Beauty Disappeared? #2

Universal principles of beauty, like fractals, reflect the order of living organisms.
Universal principles of beauty, like fractals, reflect the order of living organisms. Photo by Daniel Öberg on Unsplash

As we have discussed in the first part of this article, fashion and beauty ideals have shifted and often turned into their opposites over the centuries. However, the idea that beauty is only subjective is still troublesome. There are many iconic works of art such as the music of Beethoven or the Sistine Chapel ceiling by Michelangelo, which are experienced as beautiful by those who belong to very different cultures, backgrounds and ethnic groups.

Indeed, Immanuel Kant in his Critique of Judgment speculated on the existence of a “sensus communis” – aesthetic judgments shared by nearly all people. From a neuroscientific perspective, the existence of such a sense would imply a similar brain organization across individuals and cultures, stimulated by such art works.

Categories
Articles

Why Has Beauty Disappeared? #1

Modernist mass housing
Beauty became rare in the cities of the 20th century. Photo by CHUTTERSNAP on Unsplash

You would probably agree that most of our built environment is not particularly beautiful today. One of the reasons behind it could be that in the last hundred years, ‘beauty’ has become a highly disputed value. Especially when it comes to contemporary architecture. Today, it’s easy to silence any discussion about this topic with one argument: “Beauty lies in the eye of the beholder.” 

One of the groups which certainly benefit from this lack of agreement on what might appeal to a majority of people, are property developers. This way, they are offered a mandate to build almost anything, anywhere. It’s far more convenient to operate in a society where there is no confidence in people’s ability to make judgments about whether things are beautiful or ugly.

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Interviews

Oshin Vartanian: The wellbeing of a person is central

Oshin Vartanian

Oshin Vartanian received his PhD in experimental psychology from the University of Maine. He is the Co-Editor of Psychology of Aesthetics, Creativity, and the Arts, and past Editor of Empirical Studies of the Arts. His co-edited volumes include Neuroaesthetics, Neuroscience of creativity and most recently The Cambridge handbook of the neuroscience of creativity. His main areas of interest include the cognitive and neural bases of aesthetics and creativity.

We spoke to Oshin about his path towards studying people in relation to architecture and the knowledge he gathered. We wanted to know what architects and urban planners can learn from his and his colleagues’ research. During our conversation, we also discussed whether architects truly know their own tastes and what is today’s meaning of beauty.