Writing for Wired, Jonah Lehrer suggests that beauty is a form of curiosity that exists in response to sensation:
But why does beauty exist? What’s the point of marveling at a Rembrandt self portrait or a Bach fugue? To paraphrase Auden, beauty makes nothing happen. Unlike our more primal indulgences, the pleasure of perceiving beauty doesn’t ensure that we consume calories or procreate. Rather, the only thing beauty guarantees is that we’ll stare for too long at some lovely looking thing. Museums are not exactly adaptive.
Here’s my (extremely speculative) theory: Beauty is a particularly potent and intense form of curiosity. It’s a learning signal urging us to keep on paying attention, an emotional reminder that there’s something here worth figuring out. Art hijacks this ancient instinct: If we’re looking at a Rothko, that twinge of beauty in the mOFC is telling us that this painting isn’t just a blob of color; if we’re listening to a Beethoven symphony, the feeling of beauty keeps us fixated on the notes, trying to find the underlying pattern; if we’re reading a poem, a particularly beautiful line slows down our reading, so that we might pause and figure out what the line actually means. Put another way, beauty is a motivational force that helps modulate conscious awareness. The problem beauty solves is the problem of trying to figure out which sensations are worth making sense of and which ones can be easily ignored.
Let’s begin with the neuroscience of curiosity, that weak form of beauty. There’s an interesting recent study from the lab of Colin Camerer at Caltech, led by Min Jeong Kang. The experiment itself was straightforward: Nineteen Caltech undergrads were asked 40 trivia questions while in a brain scanner. After reading each question, the subjects were told to silently guess the answer, and to indicate their curiosity about the correct answer. Then, they saw the question presented again, followed by the correct answer.
The first thing the scientists discovered is that curiosity obeys an inverted U-shaped curve, so that we’re most curious when we know a little about a subject (our curiosity has been piqued) but not too much (we’re still uncertain about the answer). This supports the information gap theory of curiosity, which was first developed by George Loewenstein of Carnegie-Mellon in the early 90s. According to Loewenstein, curiosity is rather simple: It comes when we feel a gap “between what we know and what we want to know”. This gap has emotional consequences: it feels like a mental itch. We seek out new knowledge because we that’s how we scratch the itch.
The fMRI data nicely extended this information gap model of curiosity. It turns out that, in the moments after the question was first asked, subjects showed a substantial increase in brain activity in three separate areas: the left caudate, the prefrontal cortex and the parahippocampal gyri. The most interesting finding is the activation of the caudate, which seems to sit at the intersection of new knowledge and positive emotions. (For instance, the caudate has been shown to be activated by various kinds of learning that involve feedback, while it’s also been closely linked to various parts of the dopamine reward pathway.) The lesson is that our desire for more information – the cause of curiosity – begins as a dopaminergic craving, rooted in the same primal pathway that responds to sex, drugs and rock and roll.
I see beauty as a form of curiosity that exists in response to sensation, and not just information. It’s what happens when we see something and, even though we can’t explain why, want to see more. But here’s the interesting bit: the hook of beauty, like the hook of curiosity, is a response to an incompleteness. It’s what happens when we sense something missing, when there’s a unresolved gap, when a pattern is almost there, but not quite. I’m thinking here of that wise Leonard Cohen line: “There’s a crack in everything – that’s how the light gets in.” Well, a beautiful thing has been cracked in just the right way.
[Read More at Wired]
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