HYPOTHESIS AND THEORY ARTICLE published: 12 November 2013 doi: 10.3389/fnhum.2013.00730 Clive Bell’s “Significant Form” and the neurobiology of aesthetics Semir Zeki* Wellcome Laboratory of Neurobiology, Department of Cell and Developmental Biology, University College London, London, UK Edited by: Though first published almost one century ago, and though its premise has been disputed, Daniel S. Margulies, Max Planck Clive Bell’s essay on aesthetics in his book Art still provides fertile ground for discussing Institute for Human Cognitive and Brain Sciences, Germany problems in aesthetics, especially as they relate to neuroesthetics. In this essay, I begin with a brief account of Bell’s ideas on aesthetics, and describe how they focus on problems Reviewed by: Danilo Bzdok, Research Center Jülich, of importance to neuroesthetics. I also examine where his premise falls short, and where Germany it provides significant insights, from a neuroesthetic and general neurobiological point of Ida Momennejad, Princeton view. University, USA *Correspondence: Keywords: neuroesthetics, significant configuration, visual brain, beauty, visual motion, faces, bodies Semir Zeki, Wellcome Laboratory of Neurobiology, Department of Cell and Developmental Biology, University College London, Darwin Building, Gower Street, London WC1E 6BT, UK e-mail:
[email protected] INTRODUCTION objects that provoke [the aesthetic emotion], we shall have solved In his book Art (Bell, 1914), Clive Bell (1881–1964), the English what I take to be the central problem of aesthetics” he is, I take it, art critic, “tried to develop a complete theory of visual art...in not referring to visual art alone but to everything that is capable the light of which the history of art from paleolithic days to the of arousing the “aesthetic emotion”, even if in his book he writes present becomes intelligible,” a theory which would give “a def- almost exclusively about visual art.