Why is something beautiful? David Hume argued that beauty exists not in things but “in the mind that contemplates them.” And everyone has at some point heard the old saw that beauty is in the eye of the beholder. But Plato had a fanciful answer made to argue for a universal truth: In his world of forms, he claimed there existed a perfect Form of Beauty, which was imperfectly manifested in what we call beautiful. Despite the allure of Plato’s metaphorical claim, students of aesthetics have struggled to substantiate it. Evolutionary psychologists have argued that there exist quantifiable, describable, universal aspects to the human capacity for appreciating beautiful forms, perhaps originating in our ancestors’ experience on African savannas or in the need to find suitable mates. They have not solved the problem. However, recent work by several researchers at University College London — including the establishment of the first major grant-driven research program for the neurobiological investigation of aesthetics, or neuroaesthetics — has made the first steps toward a unified biocultural theory of art. An object’s beauty may not be universal, but the neural basis for appreciating beauty probably is. The researchers’ initial discoveries and the increasing formalization of the field promise to open the way for the first time to an understanding of beauty based on something other than speculation.
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