The Science of Aesthetics...Beauty in Nature...Art...And Women...Beautiful Creature's!

Aesthetics: " Is a branch of philosophy dealing with the nature of art, beauty, and taste, with the creation and appreciation of beauty. It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments of sentiment and taste. More broadly, scholars in the field define aesthetics as "critical reflection on art, culture and nature."
en.wikipedia.org...










Beauty

"Never lose an opportunity for seeing anything that is beautiful; For beauty is God's handwriting--a wayside sacrament.

Welcome it in every fair face, in every fair sky, in every fair flower, And thank God for it as a cup of His blessing.

- Ralph Waldo Emerson"

Amazing sights of the beautiful and wondrous world we live in.

The Aesthetics of Human Environments and Everyday Life

Both the cognitive and the non-cognitive camps in environmental aesthetics have resources that may be brought to bear on the aesthetic investigation of human and human-influenced environments as well as everyday life in general. Cognitive accounts hold that appropriate aesthetic appreciation of human environments, like that of natural environments, depends on knowledge of what something is, what it is like, and why it is as it is. Thus, for human-influenced environments such as, for example, the landscapes of agriculture or industry, what is relevant to appropriate appreciation is information about their histories, their functions, and their roles in our lives (Carlson 1985 2008, Parsons and Carlson 2008). The same holds for other human and human-influenced environments, both rural and urban (Carlson 2001b 2008, Parsons 2008b), although in all such cases knowledge provided by the social sciences is as relevant to appropriate aesthetic appreciation as that given by the natural sciences (Carlson 2006a). Some cognitively-oriented accounts also stress, as they do in the case of natural environments, the aesthetic potential of cultural traditions in the aesthetic experience of human environments. Such traditions seem especially relevant to the appreciation of what might be termed cultural landscapes—environments that constitute important places in the cultures and histories of particular groups of people. What is often called a sense of place, together with ideas and images from folklore, mythology, and religion, frequently plays a significant role in individuals' aesthetic experience of their own home landscapes (Saito 1985, Sepänmaa 1993, Tuan 1993, Carlson 2000, Chapter 14, 2008, Firth 2008). The non-cognitive approaches to environmental aesthetics also provide several channels for exploring the aesthetics of human and human-influenced environments and especially for pursuing the aesthetics of everyday life. The engagement view is presented as a model for the aesthetic appreciation of not simply both nature and art, but also just about everything else; it studies the aesthetic dimensions of small towns, large cities, theme parks, museums (Berleant 1992 1997 2005, Part I, 2010), and even human relationships (Berleant 2005, Part II). Likewise, accounts that emphasize imagination help us to understand our aesthetic responses to everything from our exploitation of environments to our smelling and tasting of them (Brady 2003 2005).

Fruitful approaches to the aesthetic appreciation of human environments as well as to other aspects of everyday life also can be found in views that draw on features of both the cognitive and the non-cognitive camps. There have been several attempts to forge connections between the two orientations (Foster 1998, Moore 1999 2008, Berleant and Carlson 2007). Moreover, there are numerous studies that, without being totally either cognitive or non-cognitive, inform our understanding of the appreciation of human environments (Arntzen and Brady 2008), such as rural countrysides (Sepänmaa 2005, von Bonsdorff 2005, Brady 2006, Andrews 2007, Leddy 2008) and urban cityscapes (von Bonsdorff 2002, Macauley 2007) as well as more specialized environments, such as industrial sites (Saito 2004, Maskit 2007) or shopping centers (Brottman 2007). Beyond the consideration of these large, public environments, the aesthetics of everyday life becomes especially relevant. It investigates not only the aesthetic qualities of smaller, more personal environments, such as individual living spaces, for example, yards and houses (Melchionne 1998 2002, Lee 2010), but also the aesthetic dimensions of normal day-to-day experiences (Leddy 1995 2005, Saito 2001 2007a, Haapala 2005, Irvin 2008) as well as everyday activities such as playing sports (Welsch 2005) and dining (Korsmeyer 1999, Brady 2005, Kuehn 2005). (Recent collections focusing on this kind of research include Haapala 1998, von Bonsdorff and Haapala 1999, Light and Smith 2005.) With the aesthetic investigation of things such as sports and food, the aesthetics of everyday life begins to come full circle

plato.stanford.edu...

The science of aesthetics


"An emerging field of research looks at how the brain is wired to create and react to art and what it can tell us about treating certain diseases


Ed Connor paired with modernist sculptor Jean Arp to test which forms people find the most and least pleasing.
For four months earlier this year, visitors to Baltimore’s Walters Art Museum were human lab rats. Donning pairs of 3-D glasses, they were invited to view morphed images of globular pieces crafted by 20th century modernist sculptor Jean Arp and choose images that they found the most and least pleasing. Their responses were gathered in a nearby Lucite box, destined for the lab of Johns Hopkins University researcher Ed Connor, director of the university’s Mind/Brain Institute.

This wasn’t some sort of experimental art project—it was actually a foray into a new field known as “neuroaesthetics,” in which brain scientists seek to answer a myriad of questions about how the brain creates or reacts to art." www.hopkinsmedicine.org...

"Beauty in The Eye's of The Beholder"