Beauty of Mind and Beauty of Matter

It's been a constant grouse for me why it's easier for physically attractive people to get attention much more than for people who are mentally capable. For example, it's not uncommon for fashion models to have millions of followers on Instagram. Comparatively, an artist should consider himself fortunate if he can garner even a few thousand followers.

In fact, the attitude that the world seems to have for intellectuals (in which I include those who make their living using their mental capability; this would include teachers, scientists, creative professionals like artists, writers, film and theatre directors and even bureaucrats to some extent) is more than just lack of interest. Instead, I see a certain degree of animosity and intolerance too. The world around us as we see it is the product of the the thoughts and work of intellectuals. So, no one can simply ignore the existence of intellectual beings. However people seem to prefer having nothing to do with this aspect of their being, thus trying to restrict their relation to intellect as a transactional thing. Where intellectuals must be dealt with at a social level, they are boxed into stereotypes of being geeks, nerds, studious, scholars etc. amounting to grumpy, mean, serious, sever, belligerent to being socially inept and insufferable to some extent.

This animosity and unfair bias against intellectuals -- often known as anti-intellectualism -- placed vis-a-vis the enormous appetite that the world has for anything glamour has appeared very unfortunate to me to the extent of causing me great and enduring pain.

Here, I try to make peace with this predicament by trying to explain it based on psychology, to the I extent that I understand it.

So, I would like to distinguish virtues in terms of being associated with mind or matter. There are human qualities that cause immediate sensual pleasure. A beautiful body, apart from the neutral aesthetic angle, causes sexual titillation. Cooking done well leads to pleasurable eating. A beautiful painting or sketch leads to a visual treat for the viewer. A piece of music is nice to the ears whether one understands music or not. All these, I would like to call the experiences of the matter. Experiencing these involves no training or preparation.

A level above these involves aspirations, arguably a thing of the mind, with which we are born. Aspirations to look good, to be rich and influential, to be accepted and respected in our social surroundings -- these aspirations lead us to see beauty in things which otherwise may not be having any apparent beauty. For example, being rich draws looks of admiration because people aspire to be rich. Possessions -- cars, gadgets, house, properly jewellery, dresses -- receive compliments and admiring looks from those who wish to have these for themselves. Of course, as a rejoinder, let me add that it would not be completely correct to say that the above things of possession have no inherent beauty of their own: а house can be really pretty and grand; a car may be majestic, sleek, fast and powerful; a gadget may be sleek, a piece of jewellery or garment can be really fine. Yet, I would say that a large majority of humans aren't so concerned about how inherently beautiful these objects are -- at least not until they find them well within their financial reach -- but what it entails to possess them.

Collectively, the above two forms of admirations, I would like to categorise as those of the matter. They would evoke reactions from almost anyone, with or without any special training, education, talent or intelligence.

The other form of beauty is the beauty of mind. This form of beauty, in order to be admired, demands us to get into the semantics -- the structure and the kinetics -- of the object in question.

To sense this form of beauty one certainly needs to get into a state where he concerns himself as much with the process that creates the object of beauty as with the object itself. The process that created a piece of beauty is an arbitrarily deep thing. For example, to be able is sing a particular song, the singer must go through a prolonged and rigorous training in music. The poet must feel something extraordinary or something ordinary extraordinarily that he expresses through the song. The music composer, the orchestra and the singer must internalize the details of the song -- both the technical and the emotion to put together a performance powerful enough to grab the notice of the most insolent of hearts. While the song itself has the beauty of the matter, the process that creates it is unboundedly more beautiful. But it is accessible to the person only with his mind's eye open. 

Unfortunately, staying in a state where the mind's eye is open is not effortless in most cases. In fact, most of us spend only a small part of our conscious life in that wakeful state. For most part, we are in an unconscious state, a mist of insolence and apathy surrounding us. I suspect that for most unfortunate people, this wakeful state happens for a disappearingly small period of time. I am unprepared to believe that there are people who never experience this wakefulness. You may consider it my form of faith that says that each one of us is blessed with that spark of divinity that can be stoked into a blazing fire with the right kind of nurturing. But anyway, what's important here is that statistically most people have their mind's eyes closed. Hence, appreciation for the beauty of the mind is so difficult to find. Places like Facebook or Instagram are where most of us spend the moments when we are in no condition or mood to perceive anything that's not out on the surface or doesn't assert itself loudly.

Sometimes creators of the beauty of mind, in their frustration of not being able to garner are kind of popularity that those with the beauty of the matter do, try to assert themselves in all sorts of ways. Unfortunately, this hardly ever ends well. In most cases, they are judged as belligerent, that is, pushing their supremacy on others. One question is: is indeed this belligerence there? Hard to say if it's right to interpret this behaviour as belligerence. It's definitely born out of anger and frustration, and has an element of violence in it. But belligerence?Belligerence amounts to an act of aggression in an attempt to force someone to to do something without his consent. What is an overassertive creator of beauty of mind trying to force people to do by making a noise about his creation? It's hard to point out. It's often construed as an attempt to force people to acknowledge the superiority of such a person. This mayn't be the case though. Such a claim, if at all there (which I doubt it is) as vacuously true and is in no need of validation. If someone is wilfully denying this, it's clearly a mean act. For most creators, their so called belligerence is really an act of retaliation against this meanness. But interestingly, to begin with, the denial of the above acknowledgement doesn't originate from meanness, but from intellectual incapacity. When intellect is slumbering, where is the question of it seeing below the surface?

The other, even more unfortunate, way the creative mind asserts its presence to the intellectually asleep majority is by commodifying itself. 'Become so good that the brilliance of your goodness pierces through the thickest of the wall of intellectual slumber', that's the maxim. This commodification is the unfortunate mechanism that drives the commercial world. It legitimises consumerism which is the advanced state of intellectual slumber; and it legitimises the alienation caused by the non-interest in the deeply beautiful thing in favour of that whose beauty is shallow and of the material. It also normalises the claim that there's no fundamental difference between the beauty of the mind and that of the matter.

Before I close, I would like to return to the infinite potential of the experience involving the beauty of the mind. There is really no limit to what you are allowed to see and experience behind an act of creativity. In fact, it's completely legal to perceive things that even the creator may not have perceived. Experiencing the beauty of mind is an act of creation.

On a completely tangential note, this may provide at least a partial resolution to the following conundrum: 'Does a copy (probably produced mechanically) have the same beauty as the original creation? Beauty of matter: yes! Beauty of mind. no! Beauty of mind can't be copied. It can't be manufactured. Process of creation happens only once -- in the mind of the creator, in the mind of the experiencer. In fact, beauty of mind is not a thing, but a process. Ephemeral. Unique. Unreplicatable.

Final word: Beauty of mind is not meant to be popular in the manner the beauty of matter is. It is sacred, and trying to push it through the wall of the widely prevailing intellectual slumber may sometimes work, but often will break it, defile it, turning it into the beauty of matter.

Arguing for Objective Definition

Abstract

This article talks about my idea about the relation of objectivity and science. After dwelling a bit upon how objectivity is the holy grail of scientific practice, we take the opposite stand wherein viewing and interpretation is not a matter that has been ignored and hushed up, but a subject of fascinating studies. We then discuss the question of what is the most significant characteristic of science. The purpose of this discussion would not specifically be to answer the question, but to analyse the undercurrents of the questions of objectivity in that. Finally, we make some simplistic prescriptions as to how scientists would make better scientists, not by hushing up the inherent subjectivity of their trade, but by capitalising upon it.

1 Objectivity in Science
“Not influenced by personal feelings or opinions, considering only facts.” That is the definition of the term ‘objective’ in Oxford dictionary. (Natural) Science (hereon referred to as just science) has come up as the de facto instrument of human race to create a body of knowledge which stands on such rigorous assessment that the possibility of its ever being contradicted can be
reduced to practically nil. The proof of this rigour has two vehicles – formal theory and experiments. In fact, the emphasis on the non-contradictability of scientific knowledge is so much that it has been decided to gradually shunt certain questions – by no means less interesting and challenging than any other – out of the purview of science study, at least for the present. These questions do not lend themselves well to a rigorous scientific study – at least
at the present time – due to the presence of one or more attributes which are difficult, if not impossible, to measure. Examples of such attributes – beauty, emotions, welfare etc. Such questions fall in the purview of arts and social sciences. We will devote a later section on developing more elaborate arguments about what could be a precise definition of science. For the present, the point of the matter is the stress laid on the need for objectivity in science.

What is behind the obsessive pursuit of objectivity in science? Philosophical beliefs of positivism, realism, dualism and idealism interplay with each other here to point us to the possible answer. In essence, the pursuit of science seems to rest on the belief that there is one unified truth about
everything. It may or may not be known or even knowable, but its independence from the knower is complete. That truth is absolute. There is an implicit claim in the idea of science that science is pursuit of the knowledge of that absolute truth.

2 Beyond Objectivity
We observe myriad things and events which are interesting and intriguing. However, their interestingness may often be associated with something beyond our power of measurement. Science refrains, in general, in claiming a central role in understanding such subjects. However, it hasn’t stopped any interested soul from pursuing such subjects. Let us use this section in iden-
tifying a set of such subjects. One important inference that can be drawn from this part of the discussion is that objectivity does not always count as the most important aspect of a scholarly pursuit.

2.1 Aesthetics and Art
Beauty, for instance, is intuitively a universally sensed attribute of various things. However, its actual immeasurability depends not only on its subjectivity, but also on the intractability of its physical origins. For example, it may be argued that a painting is beautiful owing to the faithfulness of its details to how people see the world. This isn’t true about paintings which
intentionally use effects which don’t add to the its realisticness, and yet add beauty value to it. The absence of this realisticness aspect is even sharper in a beautiful cartoon, where the artist’s achievement is in distorting the real world to the utmost to evoke humour. Perhaps, the beauty of a cartoon lies in the cartoonist’s ability to capture the essential features of a object, and
distorting it to a ridiculous degree, yet preserving the essential characteristic of the subject. The beauty might be tentatively identified as anything that evokes so called positive sensations in the onlooker, e.g. humour or surprise or admiration. However, that may not be true if we consider that works of art – drawings, movies, music etc. – demonstrating morbid things like death
and suffering earn tremendous accolade as excellent pieces of art. To say that they lack beauty would not be acceptable at all. Then perhaps, one would say that beauty resides wherever there is creativity and sensitivity involved in an act. Quite surprisingly, beauty of nature is the most undesputably beautiful thing. It does not require a believer to appreciate this beauty (though this statement could be disputed). Therefore, beauty is not necessarily associated with only a creation.
We are far from equipped to state with any confidence what causes the presence of beauty in something, let alone, to measure it with any degree of precision. Yet, this question has intrigued people for centuries. And the urge to create beautiful things is one of primal urges present in varying quantities in all human beings. Aesthetics is the branch of philosophy which
tries developing an understanding of the nature of beauty, particularly in works of art. The practice of creating beauty is art.

2.2 History
Among all things man wants to know, his past is one. Man’s wish to know everything of the events that led to him might well have been the dominant reason for him to start studying history. Yet, history has evolved far from merely a subject which just tries to reconstruct the past. The concept of historical thinking or historical reasoning points to a skill of reasoning in
historians quite different in nature than scientific thinking. It is an interesting matter to ask why historical thinking must be sanctioned a different form. In my view, the answer partly lies in the sparseness of concrete evidences using which history is created. An account of an event that happened far removed in time and space from now and here can be expected to have lost many of the threads that lead it to us, and now could lead us back to it. However, the onus on the historian is an ambititious one – to construct a story out of those evidences. This story involves not just plain physical elements but human factors which are far more complex than anything else. Even in this information age, to discover the exact links of causality between various
interesting events is difficult. If we temporarily give space to the (dubious) assumption that societies of the past were simpler than the present, still their complexity was demonstrably daunting. Is it, therefore, hopeless to look backward as history does? Critics of history have strong arguments to provide. As per them, History neither qualifies as an art, nor as a science. Its interpretation are subjective and value laden. Historians have been charged of trivialising the individual man by placing disproportionate importance to the evolution of the human society. The worst aspect which is almost a conventional wisdom is that the chronicles created at every point, which later act as the principal tools of a historian, are at the mercy of the ruling powers of the age and country. Such documents are liberally used by many to serve their ulterior motives. How does one make use of such adulterated documentation to create an accurate account of the past?

Despite all these negative factors, study of history remains an interesting thing to do. The subjectivity – to some extent, even the sensationalisaton – of the accounts, instead of being detrimental to the cause of the study of the past, has turned into an effective method to create interesting narratives which can then be discussed in a lot bigger council of historians. Finally,
this should create consensus about the past – a simplistic, but necessary assumption.

2.3 Literary Interpretation
Literary criticism is the application of literary theory – a subject which deals in developing understanding about literary work. The central questions revolve around : What is literature? Good literature and bad literature? Various aspects of a literary work? The role of a critic?
Literary criticism as a practice is as old as literature itself. Its importance cannot be overstated, going by the fact that that there are now authorities on whom a general consumer of literary work can rely for informed and balanced review of literature. Like any study that tries to theorise an art, literary theory can be criticised for trying the place works of literature into
pigeon-holes. However, like any other field of scholarly study, literary theory has also developed tremendously, and is an approximation of the ideal of a complete and correct theoretical infrastructure for evaluation of literary quality.

From the point of view of our current discussion, the history of literary theory discloses an all pervading element of subjectivity in the process of criticism. The question of the role of the critic in fulfilling the meaning of a literary work is vividly studied. In a sense, a peculiar aspect of literature comes out : A literary work gets its many meanings when it goes into the
hands of its many readers. The subjective aspect of literature is an inherent and essential one. That’s a point rigorously accentuated by the subject of literary criticism.

3 How Objective is Science?
In this section, I summarise the ideas that raise an important question about Science: How objective is science, after all? These ideas have often come from authoritative figures in the world of science. This demonstrates that science, in its highest attire, perhaps never claims a total lack of subjectivity.

A good scientist doesn’t just accept the presence of subjectivity, but often seems to accept that its presence is an essential ingradient of what could be called science. Of the innumerable evidence of this widely recognised fact, I rather expectedly have had access to some which are close to my area of interest, Computer Science.

3.1 Knuth – The Art of Computer Programming
Donald Knuth, in his Turing lecture [1], spent a considerable hour emphasising how computer programming is as much an art as it is a science. The central argument of the lecture is that even though computer programming is now largely a science, it is an artistic activity at its core. Even though our understanding of what it means for a program to be correct becomes more
elaborate, programming itself is not on its way to dissociate itself with good taste, beauty and divergent thinking.

3.2 Penrose – The Emperor’s New Mind
The Emperor’s New Mind [3] is a monumental popular science book written by the famous Oxford scientist Roger Penrose. His central argument in this book is to convince the reader that with the given state of the art in our knowledge of Physics, it is impossible to build computers that could possibly think. The many arguments in this book are borrowed from various fields
– Theory of Computation, Quantum Physics etc. – all showing that it is fallacious to say that computers of the current day indeed do anything like thinking in the proper sense of the word.
A dominant theme of this book also expresses that critical aspects of human thinking are not algorithmic in nature. The book can’t be quoted as a book against objectivity as such, but it does disavowes the notion that mechanisms of human thinking, as we know it, are understood well-enough that they could effectively be mimicked by any machine in the short future.
The roots of the most critical features of human thinking – creativity, imaginativeness and visualisation – lie beyond what has been discovered about the physical world.
I dare to add that an important indication is that when that (or those) breakthrough understandings about the physical world do unravel themselves to us, our notion of objectivity will not remain untouched by that breakthrough.

3.3 Proof As a Social Process
A very active area of research in computer science is verification, wherein people create tools and methods to formally prove that a computer program meets its requirement. The motivation comes from the need of significantly enhanced confidence in a program’s correctness and quality. The central claim of the proponents of verification is that if a program can be automatically and undesputably proved to be correct, they will be of a higher quality, and the process of software development would be much faster and enjoyable. Alan Perlis, the first ACM Turing Award winner, writes in his 1979 paper Social Processes and Proofs of Theorems [2], how erroneous the basic assumptions of verification proponents are. Perlis et al. go on to argue that there is no interesting mathematical proof which is accepted and used without having gone through an elaborate social process. They claim that proofs are a very essentially human activity, involving immense stress, strong emotions, publicising, reviews and so on. Opposed to this, a verification proof would be an unreadable piece of automatically generated symbols, which nobody would be able to read in the first place. Consequently there is no hope of an automatically generated program verification proof to ever take the place of a mathematical proof. The field of verification has made significant strides since the above paper, though the progress has not significantly disputed the above claim. The interesting point from the point of view of this article is the stress that the authors put on the social nature of mathematical proofs of theorems and
hence programs. There is a strong indication that the authors believe that the activity of proving things is not algorithmic or mechanical; it’s inherently human.

3.4 The Lost Knowledge Argument
The superior credibility that science has earned for itself is perhaps not to be disputed. What could be questioned is the role of objectivity in that. The most respected findings of science have been simple, often intuitive. They have also been proved wrong after surviving for several centuries. The most rigorous theorems in science are at best cursorily understood by the wide
scientific community. Their details are often way beyond the comprehension of all but a handful working in that area. This puts a serious question on the universal claim of objectivity that is made in science. The barrier of tremendous complexity protects many scientific claims from both being understood and from being seriously questioned by a large number of people.
It becomes a proprietary property of sorts of its owners. How does such a piece of knowledge claim to be objective?
One argument in favour of objectivity would be: If you try hard enough... Let us examine this argument a bit closely. The statement is inherently value laden. Not only does it rest on an unmeasured quantity of ‘hard enough’, there is a subtle menace communicated which seems to glare negatively at both not trying hard enough (insincerity), and not being able to try hard enough (lack of intelligence). The fact that mathematical rigour is inaccessible to a large portion of the population should not be waved away as a state of affair, but should be given due importance in the definition of objectivity.
I am repeatedly tempted to liken scientists with mystic gurus of the orient who professed to have seen the truth. If you wondered to them: ‘Hey! But I can’t see it!’ They too would perhaps say, ’If you try hard enough...’ It is an important question to ask as to what really differentiates the mystic’s claim from a mathematician’s claim. While the mystic claims to have developed
a perception for things beyond the limits of our usual senses, a mathematician seems to have sharpened his skill of looking through the mathematical symbols to seeing what they mean. Unless, the difference between a mystic’s and a mathematician’s capabilities is well understood, the debate on the objectivity of science is far from over.
Another strong argument in favour of objectivity is: In case of science, there are at least some experts who can work the proofs out right from the start to the end. This is not true for mystical subjects, or subjects like astrology.
Try looking at the argument from the other side. What happens if, of our five senses (sight, smell, hearing, touch and taste), one of the dominant ones (say, sight) disappears? What would happen to the large body of scientific knowledge that requires the existence of this faculty. Were this faculty to disappear from the face of the Earth, there would be no way by which this
category of knowledge (in which, I am sure, a better portion of scientific knowledge can be put, directly or indirectly) could be proved or disproved. There would remain no expert on such vast volumes of knowledge. Would such knowledge continue to remain scientific? The situation appears contrived, but raises a fascinating question: Is a piece of knowledge objective owing to some inherent attribute of it, or due also to certain circumstantial parameters? It appears to me that the answer is the latter. Scientific knowledge of today could lose their status as scientific knowledge if certain circumstances were to arise. Or else, scientific knowledge would have to forsake its claim that at least some experts exist who can prove their truth. The existence of a sufficient number of such experts is not an inherent property of the knowledge; it’s partly circumstantial.

4 Conclusion – Science and Subjectivity
All the above briefly brings forth the idea that the practice of science has existed and excelled on many more factors than objectivity. A significant amount of creativity and taste categorically establish the artistic side of science. Therefore, it would be right to say here that instead of sweeping its subjective aspects under the rug, science should learn to accept them openly. I would even suggest that some degree of subjectivity would play an important role in making science more interesting to do, and accessible more widely. Follows a couple of prescriptions as to where such subjective elements would work in service to science. They may be simplistic and unpolished, but surely not grossly in the wrong direction.

4.1 Dialogue as a Communication and Pedagogical Tool
The ostensibly subjective nature of the subjects of interest in social sciences makes it a particularly challenging task to communicate the exact thought. The language of mathematics, which proves a fairly effective medium of communication in many of the scientific subjects, falls short in its expressivity in matters of social sciences. The activity of knowledge communication takes a very interesting form here: that of dialogue. There are long discussion on a matter, primarily not to work out details of an artifact, but to refine the understanding of a concept and create a consensus on the matter by establishing a common language (vocabulary and grammar). Such an exchange predates on looking at an apparently subjective issue from its various angles, weighing opinions, and likewise refining the language of discourse. Studying this method of communication would be of significant value to teachers of science. Scientific pedagogues struggle to make their otherwise dry mathematical subjects interesting by employing methods of exchange which are used rather commonly in social sciences, and have been developed to a very advanced level in such disciplines. Studying their methods would be of pragmatic value to scientific communicators. The tricks of these methods involve a narrative style, often studded with expertly moderated discussions between the instructor and the audience, among other things. Most scientists are woefully ignorant of such effective means of evoking interest in their audience. Somewhere deep down, all these tricks are rooted at a conventional appreciation of the inherent subjectivity of the subject, and also of the fact that the participants of a scholarly interchange are often human-beings. Their interpretation is by nature subjective.
The only effective methods of catalising such interchanges are not more and more excruciating details, but also those narrative styles, which scientists often dismiss as decorative.

4.2 Widened View
Science is done well if it involves focus. But it’s done better when there is a degree of widening of view. Science, despite its ivory tower self image has its takers, like anything else. It makes sense to situate oneself in a wider social context so the efforts are more goal-driven. The setting of context should happen in various ways. Something which is known as market research at the business level can be done also in the scholarly level by viewing one’s work as a part of a wider project. It would be too bold to claim that involving subjectivity in our world-view should bring in a revolution in scientific results, but surely, it could revolutionise the way we do science.

References
[1] D. Knuth. Computer programming as an art. In Communications of the
ACM, pages 667673–357. ACM Press, May 1974.
[2] R. A. D. Millo, R. J. Lipton, and A. J. Perlis. Social processes and proofs
of theorems and programs. Communications of the ACM, 22(5):271–280,
1979.
[3] R. Penrose. The Emperor’s New Mind. The Oxford University Press,
1989.