Beauty beyond evolutionary adaptation

An article in the New York Times reports that a biologist is challenging his peers to consider the appearance of beauty as exceeding the bounds of evolutionary success, i.e., sometimes beauty just happens without reference to reproductive success. Hurrah! Here is link: https://www.nytimes.com/2017/05/29/science/evolution-of-beauty-richard-prum-darwin-sexual-selection.html.  Richard Prum studies birds and so understands pretty well that the song and plumage of male birds as well as the nests of bower birds are important factors in female selection of mates. Given the exigencies of natural selection, we assume that such male traits and behaviors provide reliable signals about the viability of the genes the male contributes to the next generation. Of course genetic viability is difficult to assess, so I think that our assumption is just that and the question of whether the best genes for survival also promote the best signaling is still an empirical one. Anyone know of research into this? And not just for birds, but for guppies and lightning bugs and . . . .

Even humans. Do the most attractive people (somewhat culturally determined) pass on the better genes? If so, are our half humorous stereotypes of the dumb (but handsome) jock, the vacuous beauty and all the other good lookers simply wrong? External signaling may fail to convey information about mental prowess (and presumably the genes that carry that forward) and I am sure that some nerds make great mates. We humans, though, find beauty in places besides evolutionary viability, and though I certainly believe that both the apprehension and the creation of beauty through art is a positive evolutionary development and that it contributes greatly to our species’ humanity and success, even that Picasso’s or Einstein’s or Spike Lee’s genes are quite important in that regard, I think that much happens on Gaia and in each life that bears little connection to reproductive success. So I applaud Dr. Prum’s prodding his colleagues on this point.

To develop a line of thinking that runs through my blog, artistic work seems to come two ways, both an expression of an individual, thus dependent upon the lonely self and its social expressiveness. The first is Dissanayake’s ‘making special’ where, akin to ‘signaling’ cited above, we mark our tools and objects and surroundings as special, e.g., a craftsman forms a tool of elegant shape for its function or adds designs to enhance its beauty or we bring flowers into the house or otherwise decorate our surroundings (see post 5/16/16). This I call art as incidental. Then we have art that is more central to its own intention, art for art’s sake in modern terms, though earlier art served a religious or spiritual purpose, which also seems a special class of intent. The difference is one of degrees perhaps, but the first is an expression of self (signaling the self’s specialness) and the second is an expression of the self’s experience (a symbol communicating some import of felt life, following, as always, Susanne Langer).

The NYT article cites a question by physicist Manu Prakash, “Why is there so much beauty?” How to answer? Just the way the cookie crumbles? Gaia only rolls that way? Or humans, and maybe other animals in their own way, notice patterns, and some patterns ‘speak’ more. I remember years ago reading about Paul Dirac, who shared the 1933 Nobel Erwin Schrodinger (see previous post) for his contributions to quantum theory. Dirac’s equation predicted the existence of anti-matter, and while many initially were skeptical, Dirac said he knew his equation bore some truth because it was “beautiful.” (For the record, Dirac seems to have operated on the genius end of the autistic spectrum). Another pattern are Fibonacci numbers, a curious set of integers where each one in the progression is a sum of the preceding two. Mathematicians have found various properties to these and biologists have discovered that they seem to operate in a variety of ways in nature; consider some genetic patterns and flower patterns like this chamomile flower with the Fibonacci pattern marked out for us.

FibonacciChamomile

By User:Alvesgaspar:derivative work: RDBury (Mother_and_daughter.jpg)

Now I am back in a period of reading books by and about James Joyce, so of course his aesthetic theory based upon Acquinas (at least that old guy got something right) comes to mind: beauty has 3 properties, integrity (unity), harmony (coherence of parts in that unity) and radiance (the light shining through the form illuminating the artistic import). The first two are well known in Gestalt Theory, e.g., the whole is more than the sum of its parts, but the third now, what about radiance? Consider this photograph:

cloudsocean

What’s it to be, luminous or numinous?

A cloud of billowing integrity composed harmonically of statically floating water condensation and, when I first saw it, a beautiful vision. We perceive (and some create) patterns; to some we bring radiance and thus we apprehend the beauty in nature and in our own artifactual creations. If there is a lot of beauty around, we bring it there ourselves (oh humans, and the converse as well).

Finally, back to evolution and the ocean of life. Last year we saw a beautiful (oh yes, there it is again) film, Tangerines, about an old man, Ivo, caught up in a civil war in eastern Europe who helps others without question and who, it turns out, has lost his son in the war and his family has left him to move back to Estonia and escape the violence, while he remains to help a friend with his tangerine harvest and to tend his son’s grave. The film’s artistic import centers around Ivo’s heroic effort to lead a good life in a world torn by war. And evolution? What do an old man’s tears over losing his family and home have to do with evolution? A koan for modern times. Linger here awhile before traveling on.

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