Why are you blind to beauty? | Page 3 | INFJ Forum

Why are you blind to beauty?

Maybe i am missing it, but what is the reason for suspecting people have a blindness to aesthetic beauty? I haven't personally noticed a greater blindness to it yet than to (say) the beauty of mathematical theorems.

It seems like maybe the very subtle stuff takes training and skill to appreciate, but can't most people at least tell relatively simple distinctions without training? I get the sense it's also hard to tell what it is for a mathematical theorem to be beautiful/perfect without immersing oneself in it for some time.
 
Maybe i am missing it, but what is the reason for suspecting people have a blindness to aesthetic beauty? I haven't personally noticed a greater blindness to it yet than to (say) the beauty of mathematical theorems.

It seems like maybe the very subtle stuff takes training and skill to appreciate, but can't most people at least tell relatively simple distinctions without training? I get the sense it's also hard to tell what it is for a mathematical theorem to be beautiful/perfect without immersing oneself in it for some time.

Oh yes people can distinguish between certain kinds of aesthetic qualities. But thats not what I am talking about. Ill give you an example of what I mean. Let me show you two posters.

https://drive.google.com/open?id=1Hm6GLpwGUM24eOa8dGaX38miChpDRNOp
https://drive.google.com/open?id=1K__zFfLcV1dFFsZO6i06Pp47efiKxe_-
view

open


Which one looks more beautiful? What I am saying is that some people cannot tell which one is more beautiful. In fact, some people cannot even see any difference at all between them aesthetically.
 
wolly.green said:
Which one looks more beautiful? What I am saying is that some people cannot tell which one is more beautiful. In fact, some people cannot even see any difference at all between them aesthetically.

Yeah, I guess my question is mainly about what makes you think people are less likely to understand aesthetic beauty than other kinds -- in my experience, without significant mathematical training, many cannot tell why one mathematical theorem is more beautiful than another either (any more than they can differentiate between the pictures).

My sense is that people can tell some coarse differences in aesthetic beauty quite well (take a kid's composition of basically obviously cacophonous music from Mozart) -- subtler knowledge seems to require training for many (some probably have superior ability to recognize beauty -- presumably Mozart did).
 
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Yeah, I guess my question is mainly about what makes you think people are less likely to understand aesthetic beauty than other kinds -- in my experience, without significant mathematical training, many cannot tell why one mathematical theorem is more beautiful than another either (any more than they can differentiate between the pictures).

My sense is that people can tell some coarse differences in aesthetic beauty quite well (take a kid's composition of basically obviously cacophonous music from Mozart) -- subtler knowledge seems to require training for many (some probably have superior ability to recognize beauty -- presumably Mozart did).

Actually the literature shows that some kids are much more sensitive to beauty than others. Right from the beginning, they have a strong desire to discover and create it. Other kids do not have the same sensitivity and thus do not have the same drive.The same cannot be said for mathematics. There is no literature that shows that kids can just look at math and understand it.. Indeed that would make no sense at all. But with art, yes a child can. Better still, those disparities show right up through to adulthood. My question was why?
 
wolly.green said:
Actually the literature shows that some kids are much more sensitive to beauty than others. Right from the beginning, the have a keen sense for it. No training necessary. Those disparities show right up through to adulthood. My question was why?

Ah, to be clear I do realize kids can have superior abilities to adults -- that happens even in mathematics (e.g. a 17 year old mathematician can make an achievement that most adult mathematicians will never parallel). I guess that's often just the same reason some people are better at mathematics, better at tennis, etc -- just inequality in talent through evolutionary biology.

I was under the impression that you were viewing a specific deficiency in aesthetic beauty recognition (over other kinds of skill) -- I just found that really interesting, because I haven't noticed it. I do see people blind to aesthetic beauty all the time, but haven't noticed its greater frequency (compared to other inabilities/lack of talent, knowledge or what have you)
 
My intention wasn't to be condescending. I did want to talk about it. It's fun. I'm happy you are interested in such a topic and I find your questions and point of view interesting and valid.
However, I do have a degree and career that is associated with your topic, so I have answers that come from an educated and professional point of view on the topic. (Just like if the historians here said something about history I'd listen, or if the psychologists said something about psychology, I'd listen because they know more about the topic than others.) If it were another topic it would be easier to consider that the person with such credentials had valid information, but the topic of beauty is so personal to us that it is intertwined forever with our image of who we are and what we think and feel as individuals.

Did you not try to bring mathematics into this? Something I actually have a masters in? And didn't you bring evolution into this also? Something I also have a degree in. We are talking about philosophy here anyway, not music theory or mathematics. You might be a professional musician, but I have a formal education in philosophy, mathematics and biology. I studied philosophy of art for god sakes. But that doesn't really matter at all does it? Especially if you have something to say that actually makes sense. Our credentials matter not.

Also yes, you are talking down to me. And probably because you can't think of anything to say. Don't try to be passive aggressive and expect me not to bite back. I have 6 sisters, I can handle you. If you didn't want to talk, you didn't have to be a dick about it. But no matter, I can be a dick back.
 
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Ah, to be clear I do realize kids can have superior abilities to adults -- that happens even in mathematics (e.g. a 17 year old mathematician can make an achievement that most adult mathematicians will never parallel). I guess that's often just the same reason some people are better at mathematics, better at tennis, etc -- just inequality in talent through evolutionary biology.

I was under the impression that you were viewing a specific deficiency in aesthetic beauty recognition (over other kinds of skill) -- I just found that really interesting, because I haven't noticed it. I do see people blind to aesthetic beauty all the time, but haven't noticed its greater frequency (compared to other inabilities/lack of talent, knowledge or what have you)

I notice it all the time. But again, that might just be me. Its been interesting having a discussion about it nevertheless.
 
But almost no one can identify aesthetic beauty. Its like a colourblindness that can not be illuminated to the person that is blind.

Why do you think that is? Why are so many people completely blind to aesthetic beauty?
I don't think they are blind to it, particularly. You might be living in a culture which subordinates beauty below other values, like 'efficiency' for instance, but that doesn't mean people are 'blind' to aesthetic beauty.

For instance, the internal decor of many high-star hotels on the Persian Gulf are gaudily rammed with gold because beauty isn't the priority as much as communicating wealth is. The same is true of a lot of Renaissance paintings. Take a look at Ghirlandaio's Presentation of the Virgin at the Temple, for instance:
View attachment 54507
Why is the palette almost exclusively blue, gold and red here? Simply that these were colours mandated by the patron because they were showing off. These colours (especially the lapis lazuli blue) were at the time extremely expensive - the result is that 'beauty' is subordinated beneath these other values, but not that people therefore don't have a sense of the aesthetically beautiful.

If my perspective is more accurate, your question then must become: 'why do people subordinate beauty beneath other values?'

"Quite generally, cultural relativism (about art or morality) has a very hard time explaining what people are doing when they think they are improving a tradition." (Deutsch, 2011).
This is a great quote which I thought I'd point out, even though, strictly speaking, it is baseless in causal terms. Closed systems are perfectly capable of producing their own innovations from their own rules (take the universe for one example).

Sure, you can describe art with math, colour and composition. But beauty is way more than just that. It is not enough for art to have a cool mathematical description. Nor is it enough to have crazy colours or some kind of composition. Its something ABOUT the math, the colours, the composition that make art beautiful. Just because you can describe Beethoven with calculus does not mean its calculus that makes it beautiful. In fact, mathematics can be used to describe everything, even ugly art. So it cannot be used to judge the beauty of art. The beauty comes from somewhere else.
I think you're misunderstanding @Asa here, deliberately or not. She isn't referring to the use of mathematics as a descriptive language as much as the mathematical principles which proceed from its axioms; rules of balance, harmony and proportion, &c.

One of the reason Mozart's music is beautiful is because it is also hard to vary (I also explained why above). Is this merely a coincidence? I don't think so, but most other philosophers believe otherwise.
'Most philosophers?' I'm not sure that's true.

The colourful fruits theory does not actually work as an explanation. This explains why we would be attracted to certain species of flower. Much like the code between bees and flowers, we have probably developed our own unique code. But this doesn't explain our attraction to flowers that we did not evolve around.
Of course it does - if the attraction is based upon certain properties of certain flowers, then we can detect these same properties in novel flowers. If this were not the case, we'd still be stuck in East Africa.

There is clearly something that Da Vinci has done that the preschooler has not.
Uh oh! You said Da Vinci! ;) You lose 10,000 points.

Math also does not explain our attraction to art. Remember, math can be used to describe everything. So it, too, cannot explain why we find beautiful art so attractive. Further, are spiders not symmetrical? Yet most of us are completely repulsed by them. That doesn't mean they are ugly, but rather that symmetry cannot explain why something is attractive alone.
This argument ignores the fact that there are multiple evolutionary biases operating simultaneously - our repulsion to spiders (which is more cultural than anything - it's not as hard-wired as our repulsion to snakes, for example) is based upon a heuristic which overrides the sense of 'mathematical' aesthetic.

Another thought is that the law of entropy may give an metaphor for what is happening when something is aesthetically impactful. It may be when we recognise a particular kind of order, when the infinitely more natural state is disorder.
This is a powerful idea which I thought I'd highlight so as not to let it go under the radar.

I’m not convinced by an appeal to evolution by way. I don’t mean I think it’s incorrect but it must be a lot more complex than looking at the way flowers and insects evolved jointly (a process that itself has great beauty). As far as I can see, a bee probably has the same relationship to flowers that I have to Tesco supermarkets in the UK. Their buildings have a common house style that tells me I can get groceries there, but they certainly don’t appeal to me aesthetically lol.
Ahh... that's a bit of a superficial argument, John, since our ancestors didn't co-evolve with Tescos, lol. We are able to use our rational functions to know that Tesco = food, but our ancestors needed the more primal kick of a dopamine hit (or whatever) to know when they were getting it right. If we had millions of years living alongside Tescos, and somehow a third of our current brain capacity, then the cohorts that survive would be those who had an almost fetishistic attraction to those red and blue bars, and hence a new 'aesthetic' principle would develop among our descendants.

When you see a tree your mind creates your own unique version of the concept of a tree. Then instead of looking at that tree you focus inwards on that more universal idea of a tree. This helps you to function on an autopilot mode when less mental effort is needed to do the daily routines.
I love a tree :neutral:. Good intervention with a bit of Kant there, though, I like it.

Did you not try to bring mathematics into this? Something I actually have a masters in? And didn't you bring evolution into this also? Something I also have a degree in. We are talking about philosophy here anyway, not music theory or mathematics. You might be a professional musician, but I have a formal education in philosophy, mathematics and biology. I studied philosophy of art for god sakes. But that doesn't really matter at all does it? Especially if you have something to say that actually makes sense. Our credentials matter not.

Also yes, you are talking down to me. And probably because you can't think of anything to say. Don't try to be passive aggressive and expect me not to bite back. I have 6 sisters, I can handle you. If you didn't want to talk, you didn't have to be a dick about it. But no matter, I can be a dick back.
I think you may have misread Asa's tone there, wolly - I didn't read the aggression you're imputing, merely an invocation of her authority. It didn't seem passive-aggressive to me as much as it was a statement of fact.
 
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This is a great quote which I thought I'd point out, even though, strictly speaking, it is baseless in causal terms. Closed systems are perfectly capable of producing their own innovations from their own rules (take the universe for one example).

Oh no, being a relativist about 'innovation' won't cut it either. Just because a closed system can undergo 'changes', does not mean those changes are 'improvements'. In fact, relativism about innovation has a hard to explaining what people are doing when they think they are improving anything through persistence and creativity. Are they all mistaken when they think that improving something requires more than just indifferent randomness?

Of course it does - if the attraction is based upon certain properties of certain flowers, then we can detect these same properties in novel flowers. If this were not the case, we'd still be stuck in East Africa.

Thats not quite what I mean. What is it about flowers that we are attracted to? What is it that our minds evolved to pay attention to that draws us in? It has something to do with colour, geometry, composition and so on right? Sure, but if that were all there is to it, then humans should be attracted to EVERYTHING with colour and geometry. Which means all humans should be attracted to all flowers. But clearly this isn't true. Clearly not all humans are not attracted to flowers. And even those that are, Im willing to bet that there are none that would call ALL flowers beautiful.

But if colour, geometry, composition and so on are not all there is to beautiful flowers, then what else is there? What is it about flowers that makes them so attractive to us? As I have already said above, the explanation is that truely beautiful flowers are "hard to vary".

This argument ignores the fact that there are multiple evolutionary biases operating simultaneously - our repulsion to spiders (which is more cultural than anything - it's not as hard-wired as our repulsion to snakes, for example) is based upon a heuristic which overrides the sense of 'mathematical' aesthetic.

The argument I made above follows here as well.

I think you may have misread Asa's tone there, wolly - I didn't read the aggression you're imputing, merely an invocation of her authority. It didn't seem passive-aggressive to me as much as it was a statement of fact.

We are having a discussion, not conducting a lecture. Authority doesn't matter here. Worse still, I'm way more qualified to answer these questions than she is. So why the hell bring "authority" into this? Its completely and utterly irrelevant. I see no reason for it except to talk down to me.
 
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Oh no, being a relativist about 'innovation' won't cut it either. Just because a closed system can undergo 'changes', does not mean those changes are 'improvements'. In fact, relativism about innovation has a hard to explaining what people think they are doing with they are improving anything through persistence and creativity. Are they all mistaken?
It simply doesn't. The principles against which the 'improvements' are measured already inhere within the system, too, and novel principles can be formed a posteriori from combination of those already extant. Infinite novelty can be generated in this way.

I'll quote myself because I don't have time to type it out fresh:

Verstehen is important in historical understanding since it embodies the mechanism by which dynamic change can be effected without violating deterministic causality (the novel effects brought about when parts combine into wholes), and thus that at the conceptual level of Verstehen, temporal dynamism is integral and relatively unproblematic. In other words, it solves the essential problem posed by Wilhelm Windelband that, as described by Guy Oakes, ‘[t]he occurrence of individual events cannot be explained by general laws’, since, in any whole system in which the parts are adaptive, feedback loops are capable of generating infinite novelty.[1]


[1] I do not believe, however, that Dilthey realised this fact. The principle can be explained thusly: in a system comprising one adaptive object exhibiting behaviour A, behaviour A continues for eternity. In a system comprising two adaptive objects exhibiting behaviour A, logic dictates that now another behaviour exists: that of behaviour A+A or AA. In a feedback loop, behaviour AA is fed back into the adaptive objects, and this generates a novel behaviour: behaviour A+AA or B (A+AA=B), &c. ad infinitum. G. Oakes, ‘Introduction: Rickert’s Theory of Historical Knowledge’, in H. Rickert, The Limits of Concept Formation in Natural Science, trans. G. Oakes (Cambridge, 1986), p. xiii; Windelband, ‘Rectorial Address…’, p. 185.

I'm sorry but I don't have time to get to your other points now.
 
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Also yes, you are talking down to me. And probably because you can't think of anything to say. Don't try to be passive aggressive and expect me not to bite back. I have 6 sisters, I can handle you. If you didn't want to talk, you didn't have to be a dick about it. But no matter, I can be a dick back
Wtf is this about wolly? You're seeing things that aren't there. @Asa is contributing valid input to your thread. Whether you agree or disagree with her ideas doesn't matter, but she's not being a dick.
 
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Ahh... that's a bit of a superficial argument, John, since our ancestors didn't co-evolve with Tescos, lol. We are able to use our rational functions to know that Tesco = food, but our ancestors needed the more primal kick of a dopamine hit (or whatever) to know when they were getting it right. If we had millions of years living alongside Tescos, and somehow a third of our current brain capacity, then the cohorts that survive would be those who had an almost fetishistic attraction to those red and blue bars, and hence a new 'aesthetic' principle would develop among our descendants.

The point I'm making is that an aesthetic sense of beauty is not necessarily explained by the utilitarian co-evolution of individual components. For example, it's usually the case that fruit and flowers do not appear at the same time, and with many plants by the time the fruit is ripe the plant is dying back, or has become chewed up by a season of insect activity. Now it would make a lot more sense for us to find this fading stage more beautiful than the flowering stage if our aesthtics evolved from the specifics of hunter gathering, because the reward is immediate. Of course we did evolve to be attracted to ripe fruit but it is an attraction like my pull to Tescos rather than my appreciation of a lily. And why would I also find plants such as the laburnum so lovely - it's one of my favourites - when it would poison me if I tried to eat its fruit? And talking about bees - I don't find wild bee nests beautiful at all, but that's where my food resource is more likely to be when plants are at the flowering stage.

Now don't misunderstand me, because I'm not suggesting that the idea is wrong either. My gut feeling is that the evolution of our sense of the beauty of such things is to do with a bigger picture context. That when our ancestors experienced beauty, it was related to an unconscious perception of a harmony in a particular environment as a whole around them that was good for their survival - conversely if they didn't experience beauty it would imply that they were not in a good environment in which to live successfully. While I think @wolly.green has amplified the need for precision a bit too too far, I think that his concept is very much in line with my hypothesis because in the wild we needed pretty finely tuned environments for our survival. Of course that sense of harmony would be projected onto individual components - but like you implied, these are translatable projections onto unfamiliar components in new environments. That big picture view also explains how the world became suffused with gods and spirits, who would be projected collective personifications into nature of the awareness of inner harmony, or it's loss and destruction - and of course they carry some of the greatest levels of aesthetic charge for early people (if it isn't ridiculous to try and quantify it lol).
 
It simply doesn't. The principles against which the 'improvements' are measured already inhere within the system, too, and novel principles can be formed a posteriori from combination of those already extant. Infinite novelty can be generated in this way.

I'll quote myself because I don't have time to type it out fresh:

Verstehen is important in historical understanding since it embodies the mechanism by which dynamic change can be effected without violating deterministic causality (the novel effects brought about when parts combine into wholes), and thus that at the conceptual level of Verstehen, temporal dynamism is integral and relatively unproblematic. In other words, it solves the essential problem posed by Wilhelm Windelband that, as described by Guy Oakes, ‘[t]he occurrence of individual events cannot be explained by general laws’, since, in any whole system in which the parts are adaptive, feedback loops are capable of generating infinite novelty.[1]


[1] I do not believe, however, that Dilthey realised this fact. The principle can be explained thusly: in a system comprising one adaptive object exhibiting behaviour A, behaviour A continues for eternity. In a system comprising two adaptive objects exhibiting behaviour A, logic dictates that now another behaviour exists: that of behaviour A+A or AA. In a feedback loop, behaviour AA is fed back into the adaptive objects, and this generates a novel behaviour: behaviour A+AA or B (A+AA=B), &c. ad infinitum. G. Oakes, ‘Introduction: Rickert’s Theory of Historical Knowledge’, in H. Rickert, The Limits of Concept Formation in Natural Science, trans. G. Oakes (Cambridge, 1986), p. xiii; Windelband, ‘Rectorial Address…’, p. 185.

I'm sorry but I don't have time to get to your other points now.

Novelty is not innovation though... Closed systems can create infinite novelty, sure. But their natural state is towards disorder. Which means that almost all possible ordered states are beyond the scope of these closed systems. That is, unless they are guided by intelligent agents.

Innovation is something that only natural selection and creative minds can do. How do we know this? Because things that have been created by humans are ordered and structured. We create things to serve very particular purposes, so we design them to serve those specific purposes. That doesn't sound like something a closed system can do. Further, we innovate when we create new things for the same purpose, but make them work better that they did before, thus creating new structure.
 
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Wtf is this about wolly? You're seeing things that aren't there. @Asa is contributing valid input to your thread. Whether you agree or disagree with her ideas doesn't matter, but she's not being a dick.

You tell me then, why bring authority into this? We are having a discussion, not a lecture. Authority just doesn't matter. Further, Im way more qualified to answer these questions than she is. So why bring it up? I never did because it doesn't matter.
 
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You tell me then, why bring authority into this? We are having a discussion, not a lecture. Authority just doesn't matter. Further, Im way more qualified to answer these questions than she is. So why bring it up? I never did because it doesn't matter. "Authority" is just irrelevant nonsense when we are having a discussion.

To state that her view comes from someone within a field that deals with "beauty" on a daily basis. Like an insiders perspective. Not to demonstrate that her view is superior.
 
Novelty is not innovation though... Closed systems can create infinite novelty, sure. But their natural state is towards disorder. Which means that almost all possible ordered states are beyond the scope of these closed systems. That is, unless they are guided by intelligent agents.

Innovation is something that only natural selection and creative minds can do. How do we know this? Because things that have been created by humans are ordered and structured. We create things to serve very particular purposes, so we design them to serve those specific purposes. That doesn't sound like something a closed system can do. Further, we innovate when we create new things for the same purpose, but make them work better that they did before, thus creating new structure.
A culture is a closed system in causal terms.

I don't see how this contravenes my point? Innovation can come from within a closed system, and hence we don't need to appeal to 'objective standards' to explain 'improvement'. There is thus no logical ground upon which you can argue against relativism.

I'm not saying I'm a relativist, just that innovation and improvement is perfectly plausible within a closed system.

You can argue against relativism in other ways, just not in terms of logic.
 
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