THL1501 Assignment 2 (COMPLETE ANSWERS)
Semester 1 2026 (657810) - Due 24 April 2026
, THL1501: ASSIGNMENT 02
STUDENT NAME: [INSERT NAME]
STUDENT NUMBER: [INSERT NUMBER]
UNIQUE NUMBER: 657810
QUESTION 1: THE OBJECTIVE DEFINITION OF BEAUTY AND AESTHETICS
Introduction
The concepts of "beauty" and "aesthetics" have long been regarded as the most elusive
terms in the lexicon of art theory and philosophy. In her foundational work, Basic Issues
in Aesthetics (1998), Marcia Eaton highlights the inherent difficulties in pinning down
these terms, often noting the shift from objective properties to subjective experiences.
However, despite the popular adage that "beauty is in the eye of the beholder," this
essay argues that it is possible—and indeed necessary—to define these terms
objectively. By examining the structural properties of objects and the shared cognitive
frameworks of human perception, we can move past mere personal preference toward
a grounded, objective aesthetic theory.
The Dilemma of Subjectivity
Eaton (1998) acknowledges that many modern theorists have abandoned the search for
an objective definition, favoring a "receiver-centered" approach. The argument against
objectivity usually rests on the diversity of taste: if one person finds a brutalist concrete
building beautiful while another finds it hideous, how can beauty be an objective
property? Eaton suggests that this variability makes a universal definition difficult. Yet, if
we reduce aesthetics entirely to subjectivity, the term loses its utility. As noted in the
Study Guide (UNISA, 2024), if everything is potentially beautiful based solely on whim,
then "beauty" becomes a synonym for "liking," and the distinct category of aesthetic
value vanishes.
Aesthetic Properties as Objective Features
To define beauty objectively, we must look at the "formal properties" of the object itself.
Objective beauty is not about how a person feels, but about the arrangement of parts.
Eaton discusses how certain geometric proportions—such as symmetry, balance, and
the "Golden Ratio"—have been consistently identified as aesthetic markers across
cultures and eras. For example, the Parthenon in Athens or the structure of a nautilus
shell are not considered "beautiful" by accident; they possess mathematical properties
that trigger a specific cognitive response in the human brain. When we define beauty
Semester 1 2026 (657810) - Due 24 April 2026
, THL1501: ASSIGNMENT 02
STUDENT NAME: [INSERT NAME]
STUDENT NUMBER: [INSERT NUMBER]
UNIQUE NUMBER: 657810
QUESTION 1: THE OBJECTIVE DEFINITION OF BEAUTY AND AESTHETICS
Introduction
The concepts of "beauty" and "aesthetics" have long been regarded as the most elusive
terms in the lexicon of art theory and philosophy. In her foundational work, Basic Issues
in Aesthetics (1998), Marcia Eaton highlights the inherent difficulties in pinning down
these terms, often noting the shift from objective properties to subjective experiences.
However, despite the popular adage that "beauty is in the eye of the beholder," this
essay argues that it is possible—and indeed necessary—to define these terms
objectively. By examining the structural properties of objects and the shared cognitive
frameworks of human perception, we can move past mere personal preference toward
a grounded, objective aesthetic theory.
The Dilemma of Subjectivity
Eaton (1998) acknowledges that many modern theorists have abandoned the search for
an objective definition, favoring a "receiver-centered" approach. The argument against
objectivity usually rests on the diversity of taste: if one person finds a brutalist concrete
building beautiful while another finds it hideous, how can beauty be an objective
property? Eaton suggests that this variability makes a universal definition difficult. Yet, if
we reduce aesthetics entirely to subjectivity, the term loses its utility. As noted in the
Study Guide (UNISA, 2024), if everything is potentially beautiful based solely on whim,
then "beauty" becomes a synonym for "liking," and the distinct category of aesthetic
value vanishes.
Aesthetic Properties as Objective Features
To define beauty objectively, we must look at the "formal properties" of the object itself.
Objective beauty is not about how a person feels, but about the arrangement of parts.
Eaton discusses how certain geometric proportions—such as symmetry, balance, and
the "Golden Ratio"—have been consistently identified as aesthetic markers across
cultures and eras. For example, the Parthenon in Athens or the structure of a nautilus
shell are not considered "beautiful" by accident; they possess mathematical properties
that trigger a specific cognitive response in the human brain. When we define beauty
