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Journal articles on the topic 'Evolutionary aesthetics'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Kiianlinna, Onerva. "Contradiction That Never Was: Epigenesis versus Modularity in Evolutionary Aesthetics." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 2 (2022): 79–91. http://dx.doi.org/10.36253/aisthesis-13054.

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Coevolutionary aesthetics has been forming since the early 2010s. Its contribution of great value has been the inclusion of cultural evolution into Darwinian theories on the origins of art and aesthetic judgement. Coevolutionary aesthetics – or non-modular evolutionary aesthetics as it is sometimes called – emphasizes that aesthetic behavior develops in a specific social environment. Coevolutionary aesthetics suggests that traditional evolutionary aesthetics, drawing from evolutionary psychology, has ignored this. The critical position stems from the widely accepted notions that humans adapt p

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VAN LIEROP, B. L. "Evolutionary Aesthetics." British Journal of Aesthetics 44, no. 4 (2004): 444–45. http://dx.doi.org/10.1093/bjaesthetics/44.4.444.

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Stoddart, D. Michael. "Evolutionary aesthetics." Interdisciplinary Science Reviews 22, no. 3 (1997): 217–28. http://dx.doi.org/10.1179/isr.1997.22.3.217.

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Kiianlinna, Onerva. "Aesthetic Gadgets: Rethinking Universalism in Evolutionary Aesthetics." Philosophies 7, no. 4 (2022): 71. http://dx.doi.org/10.3390/philosophies7040071.

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There is a growing appetite for the inclusion of outcomes of empirical research into philosophical aesthetics. At the same time, evolutionary aesthetics remains in the margins with little mutual discussion with the various strands of philosophical aesthetics. This is surprising, because the evolutionary framework has the power to bring these two approaches together. This article demonstrates that the evolutionary approach builds a biocultural bridge between our philosophical and empirical understanding of humans as aesthetic agents who share the preconditions for aesthetic experience, but are

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Shaub, Kiel. "Darwin’s “Beautiful”: Coadaptation as a Problem in Evolutionary Aesthetics." Journal of Aesthetic Education 55, no. 3 (2021): 71–105. http://dx.doi.org/10.5406/jaesteduc.55.3.0071.

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Abstract Where does our sense of beauty come from? Traditional interest in evolutionary aesthetics has proceeded by an almost exclusive focus on Darwin’s Descent of Man, which theorizes the origin of the human aesthetic sense as an instrumental feature of sexual desire. But what if the Descent only gives us half of the story? I argue that we have overlooked a key element in Darwin’s aesthetics that is more readily available in On the Origin of Species, a form of aesthetic experience he associates with “cultivated men.” Instead of an explicit scientific theory of aesthetic pleasure, the Origin

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Łuczaj, Kamil. "Perspektywa ewolucjonistyczna w estetyce empirycznej. Założenia, tradycje, problemy." Kultura i Edukacja 95, no. 2 (2013): 82–106. http://dx.doi.org/10.15804/kie.2013.02.04.

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The article presents the main assumptions, traditions and problems, which make up the evolutionary perspective in studies of human aesthetic taste. Article begins by describing the main assumptions of evolutionary aesthetics and presenting the aesthetic theory of Ellen Dissanayake, which is regarded as the most general approach to this problem. Then the article discusses the natural evolutionary adaptations, distinguished by evolutionary scientists. Evolutionary theory assumes that as a result of development of the human makeup in the course of evolution have developed some universal aesthetic

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Paden, Roger. "Landscapes and Evolutionary Aesthetics." Environment, Space, Place 8, no. 1 (2016): 33–55. http://dx.doi.org/10.5840/esplace2016812.

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Smith, C. U. M. (Christopher Upham Murray). "Evolutionary Neurobiology and Aesthetics." Perspectives in Biology and Medicine 48, no. 1 (2005): 17–30. http://dx.doi.org/10.1353/pbm.2005.0017.

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Kozbelt, Aaron. "Evolutionary Aesthetics: Contemporary Evolutionary Aesthetics: The View from the Humanities (and Humanists)." Evolutionary Studies in Imaginative Culture 1, no. 2 (2017): 95–104. http://dx.doi.org/10.26613/esic/1.2.51.

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Luty, Jerzy. "Sztuka zwierząt i „paradygmat siatkówkowy” — czym nie jest estetyka ewolucyjna." Studia Philosophica Wratislaviensia 16, no. 2 (2021): 89–105. http://dx.doi.org/10.19195/1895-8001.16.2.7.

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In the article I defend some of the thesis presented in my book ‘Art as Adaptation: Universalism in Evolutionary Aesthetics’ (Sztuka jako adaptacja: uniwersalizm w estetyce ewolucyjnej) (2018) against the claims of my critics. I focus especialy on some misreadings regarding the explanatory power of evolutionary science. I try to show that even though evolutionarily informed aesthetics is not a handy tool for analyzing the intrinsically diverse currents of modern and neo-avant-garde art, it does an excellent job of explaining the mental tendencies and typical behaviors behind these practices. I

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Luty, Jerzy. "Świat sztuki i czas ewolucyjny — dlaczego estetyka współczesna boi się unaukowienia." Studia Philosophica Wratislaviensia 16, no. 2 (2021): 107–17. http://dx.doi.org/10.19195/1895-8001.16.2.8.

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The criticisms I address in this article provoke questions about the very nature of aesthetic discourse and its relation to scientific approach in art theory. In the article, I try to respond to the author who criticizes me (and evolutionary aesthetics) for disliking avant-garde art and, worse, contemporary aesthetics. I also try to explain that I am not a biological determinist, that I do not consider art an evolutionary adaptation, that I do not practice reductionism, and that I know how evolutionary mechanisms work. I also describe the reasons why the contemporary aesthetics, which the crit

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12

Wannarumon, Somlak, Erik L. J. Bohez, and Kittinan Annanon. "Aesthetic evolutionary algorithm for fractal-based user-centered jewelry design." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 22, no. 1 (2007): 19–39. http://dx.doi.org/10.1017/s0890060408000024.

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AbstractThis paper proposes an aesthetic-driven evolutionary algorithm for user-centered design. The evolutionary algorithm is based on a genetic algorithm (GA). It is developed to work as an art form generator that enhances user's productivity and creativity through reproduction, evaluation, and selection. Users can input their preferences and guide the generating direction to the system. A two-step fitness function is developed to evaluate morphology and aesthetics of the generated art forms. Fractals created by an iterated function system are used for representing art forms in our process.

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13

Bandura, Agnieszka. "Twórczość jako adaptacja? Sztuka zagrożona wyginięciem…" Studia Philosophica Wratislaviensia 16, no. 1 (2021): 39–48. http://dx.doi.org/10.19195/1895-8001.16.1.3.

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In this paper I try to defend contemporary art (avant-garde and post-modern) from the criticism of evolutionary aesthetics. Referring to selected theses put forward by Jerzy Luty in his book Art as Adaptation. Universalism in Evolutionary Aesthetics (2018), I propose an alternative to them in the form of philosophical anthropology (Gehlen) and evolutionary theory considered as bricolage (Jacob). Above all, I challenge the hypotheses of the evolutionarily and biologically adaptive function of art and the condition of pleasure it must necessarily provide.

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14

Luczaj, Kamil. "Evolutionary Aesthetics and Print Advertising." SAGE Open 5, no. 2 (2015): 215824401559216. http://dx.doi.org/10.1177/2158244015592165.

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Wilkoszewska, Krystyna. "Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.

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In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.

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16

Paden, R., L. K. Harmon, and C. R. Milling. "Ecology, Evolution, and Aesthetics: Towards an Evolutionary Aesthetics of Nature." British Journal of Aesthetics 52, no. 2 (2012): 123–39. http://dx.doi.org/10.1093/aesthj/ays001.

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17

LI, YUFAN, and Taig Youn Cho. "A Study on the Aesthetic Consciousness of Roads in Door Frame Landscape in Traditional Chinese Gardens: Analyzing the Representational Value of Roads in Door Frame Landscape Through Evolutionary Aesthetics." Korea Institute of Design Research Society 8, no. 1 (2023): 32–47. http://dx.doi.org/10.46248/kidrs.2023.1.32.

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Door Frame Landscape is a representative design technique of traditional Chinese gardens, which allows people to view the neighboring space through a doorway in the wall of the courtyard. The road serves as an element to guide the viewer to the adjacent space. Door frames are used to frame the landscape around the road, creating a Door Frame Landscape. This Door Frame Landscape style is widely favored, but the reason for this preference is still unclear. This has led to mere imitation of the style in the garden. Of course, the preference for Door Frame Landscape is also influenced by other fie

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18

Lam, Mimi, and Roberto Gonzalez-Plaza. "Evolutionary Universal Aesthetics in Ecological Rationality." Journal of Ecological Anthropology 10, no. 1 (2006): 66–71. http://dx.doi.org/10.5038/2162-4593.10.1.6.

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19

Kiianlinna, Onerva. "What Is Evolutionary Aesthetics? Three Waves." Estetika: The European Journal of Aesthetics LX/XVI, no. 1 (2023): 90–100. http://dx.doi.org/10.33134/eeja.344.

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20

Démuth, Andrej. "Art and Artificial Intelligence - Challenges and Dangers." ESPES. The Slovak Journal of Aesthetics 9, no. 1 (2020): 26–35. https://doi.org/10.5281/zenodo.6331060.

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The ability to create and perceive art has long been understood as an exceptional human trait, which should differentiate us from the rest of the organisms or robots. However, with the uprising of cognitive sciences and information stemming from them, as well as the evolutionary biology, even the human being began to be understood as an organism following the evolutionarily and culturally obtained algorithms and evaluation processes. Even fragile and multidimensional phenomena like beauty, aesthetic experience or the good have lately been analyzed using computational aesthetics, neuroaesthetic

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21

Johnson, Colin G., Jon McCormack, Iria Santos, and Juan Romero. "Understanding Aesthetics and Fitness Measures in Evolutionary Art Systems." Complexity 2019 (March 20, 2019): 1–14. http://dx.doi.org/10.1155/2019/3495962.

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One of the general aims of evolutionary art research is to build a computer system capable of creating interesting, beautiful, or creative results, including images, videos, animations, text, and performances. In this context, it is crucial to understand how fitness is conceived and implemented to explore the “interestingness,” beauty, or creativity that the system is capable of. In this paper, we survey the recent research on fitness for evolutionary art related to aesthetics. We also cover research in the psychology of aesthetics, including relation between complexity and aesthetics, measure

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22

Portera, Mariagrazia. "Babies Rule! Niches, Scaffoldings, and the Development of an Aesthetic Capacity in Humans." British Journal of Aesthetics 60, no. 3 (2020): 299–314. http://dx.doi.org/10.1093/aesthj/ayz064.

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Abstract Where does the human aesthetic come from? How does it develop? By introducing the notion of the ‘niche’ (‘aesthetic niche’) as a key term in an empirically and evolutionarily informed aesthetics, this paper aims to take a fresh look at these and similar questions. It also aims to shed new light on the development and functioning of the aesthetic capacity in humans and its trans-generational transmission. Drawing on recent research developments in evolutionary biology, developmental psychology, and cognitive sciences, I shall argue that the human aesthetic capacity—which I understand a

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23

Škorić, Marko, and Aleksej Kišjuhas. "Habitat Selection and the Evolutionary Aesthetics of Landscape Preference." Documenta Praehistorica 47 (December 3, 2020): 494–507. http://dx.doi.org/10.4312/dp.47.28.

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This paper analyses the processes of habitat selection and human landscape preferences from an evolutionary perspective, with the aim of demonstrating how humans aesthetically choose, assess and aspire to live in an environment in which our species and our ancestors evolved in during the pre-Neolithic period. We present the basics of evolutionary aesthetics, then analyse the process of habitat selection and the most influential evolutionary theories of landscape preference. Finally, we refer to applied empirical research and point out that a comprehensive evolutionary theory must also take int

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24

Luty, Jerzy. "Sztuka jako adaptacja: uniwersalizm w estetyce ewolucyjnej." Studia Philosophica Wratislaviensia 16, no. 1 (2021): 9–30. http://dx.doi.org/10.19195/1895-8001.16.1.1.

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The paper is a synoptic review of my monograph Art as an adaptation. Universalism in evolutionary aesthetics (2018), which is the analysis of the evolutionary theory of art — a theoretical phenomenon that has been developed in recent years, a discipline that explains the origin of human admiration for beauty and human inclination to create and admire art based on Darwinian theories of natural and sexual selection. The main objective of the paper is to determine to what extent the evolutionary perspective enriches our concept of art and whether naturalization and universalization of the analysi

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25

Lindgaard, Gitte, and T. W. Allan Whitfield. "Integrating aesthetics within an evolutionary and psychological framework." Theoretical Issues in Ergonomics Science 5, no. 1 (2004): 73–90. http://dx.doi.org/10.1080/1463922031000086726.

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26

Skalska, D. M. "PHILOSOPHICAL AND ANTHROPOLOGICAL PRINCIPLES OF AESTETICS IN POST-CLASSICAL EPOCH." Anthropological Measurements of Philosophical Research, no. 3 (September 17, 2013): 62–68. https://doi.org/10.15802/ampr2013/14337.

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<strong>Purpose. </strong>To understand the dynamics of aesthetic conception as representative of the main directions of philosophical anthropology, identifying their contribution to the development of aesthetics and expand its research field. The condition of the study of the problem is the evolutionary process of adequateness, authenticity and alternativeness in determination of both the phenomenon of "aesthetic" and its role in philosophical and anthropological  convention. <strong>Methodology.</strong> Both the measurements of aesthetic as a unique, peculiar,

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27

Chmielewski, Adam. "Evolutionary aesthetics as a meeting point of philosophy and biology." Acta Societatis Botanicorum Poloniae 81, no. 2 (2012): 67–73. http://dx.doi.org/10.5586/asbp.2012.015.

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Metaphysics, or the knowledge of what there is, has been traditionally placed at the pinnacle of philosophical hierarchy. It was followed by theory of knowledge, or epistemology. Practical knowledge of proper modes of conduct, ethics, came third, followed by aesthetics, treated usually in a marginal way as having to do only with the perception of the beautiful. The hierarchy of philosophical disciplines has recently undergone a substantial transformation. As a result, ethics has assumed a central role. The aim of this paper is to suggest that the hierarchy of philosophical disciplines is not y

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Dai, Yu Hang, and Taig Youn Cho. "A Study on the Aesthetic Consciousness of Geoscape Architecture -Focused on Evolutionary Aesthetics and Neuroscience-." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 29, no. 1 (2023): 55–66. http://dx.doi.org/10.18208/ksdc.2023.29.1.55.

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Li, Xin Yi, and Taig Youn Cho. "Research on the Visual Aesthetic Consciousness of Inflatable Architecture-Based on Neuroaesthetics and Evolutionary Aesthetics." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 29, no. 4 (2023): 123–36. http://dx.doi.org/10.18208/ksdc.2023.29.4.123.

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Xiao, Xiao Yu, and Taig Youn Cho. "Research on Aesthetic Preferences for Transparency and Glossiness in Optical Phenomena-Focused on Evolutionary Aesthetics-." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 29, no. 4 (2023): 199–211. http://dx.doi.org/10.18208/ksdc.2023.29.4.199.

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Yang, Mingyue, and Taigyoun Cho. "Exploring The Aesthetic Preference for Stepped Seat in Landscape Based on Evolutionary Aesthetics and Neuroaesthetics." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 29, no. 3 (2023): 219–29. http://dx.doi.org/10.18208/ksdc.2023.29.3.219.

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32

Mundy, Rachel. "Birdsong and the Image of Evolution." Society & Animals 17, no. 3 (2009): 206–23. http://dx.doi.org/10.1163/156853009x445389.

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AbstractFor nearly a quarter of Darwin's Descent of Man (1871), it is the singing bird whose voice presages the development of human aesthetics. But since the 1950s, aesthetics has had a perilous and contested role in the study of birdsong. Modern ornithology's disillusionment with aesthetic knowledge after World War II brought about the removal of musical studies of birdsong, studies which were replaced by work with the sound spectrograph, a tool that changes the elusive sounds of birdsong into a readable graphic image called a spectrogram. This article narrates the terms under which the imag

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Liang, Zhi Qi, and Taig Youn Cho. "A Study on Effects of Architectural Surface Characteristics on Sharp Shape Threat Perception." Korea Institute of Design Research Society 7, no. 3 (2022): 46–60. http://dx.doi.org/10.46248/kidrs.2022.3.46.

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Designers express diverse opinions on how to apply sharp shapes in buildings. Sharply-changed contour of sharp shapes is one visual primitive that can be quickly extracted by people1). As a critical part of architectural design, architectural surface boasts of some characteristics that affect brain to recognize threat of sharp contours. In this day with diversified aesthetics, aesthetics rests with audience’s visual perception and cognition of objective objects, as well as their professional knowledge, life experience, thoughts and culture. In the course of evolution, general aesthetic awarene

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Hellberg, Dustin. "Peirce, evolutionary aesthetics, and literary meaning: Tension, index, symbol." Semiotica 2018, no. 221 (2018): 71–103. http://dx.doi.org/10.1515/sem-2015-0099.

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AbstractThis paper will use several notions of Charles Peirce – his Categories and semiotics – and interweave evolutionary theory, neuroscience, and literary studies in order to connect the disciplines such that the natural sciences may be used as interpretive tools in literary exegesis. Despite the ostensible differences between literary texts and the endeavors of the natural sciences, Peirce’s ideas can put them into conversation. Current evolutionary literary theories like Literary Darwinism require a more solid footing and methodology from which to ground their hypotheses, and this paper w

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35

Martinson, T. J. "Sense and Supersensibility: Kantian Aesthetics in Lamarckian Evolutionary Theory." Configurations 27, no. 3 (2019): 331–53. http://dx.doi.org/10.1353/con.2019.0019.

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Mundher, Riyadh, Shamsul Abu Bakar, Marwah Al-Helli, et al. "Visual Aesthetic Quality Assessment of Urban Forests: A Conceptual Framework." Urban Science 6, no. 4 (2022): 79. http://dx.doi.org/10.3390/urbansci6040079.

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Visual aesthetic quality is the visual pleasure level that attracts people and makes them prefer certain areas. Visual aesthetic quality is valued and considered for urban forests but remains challenging. This could be due to a lack of understanding of visual aesthetic quality assessment variables based on visual aesthetic theories. This study supports an integrated conceptual framework based on the result of a systematic literature review study to describe and measure aesthetics that incorporates objective and subjective factors through urban forest visual character and urban forest visual qu

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PORTERA, Mariagrazia. "Towards an integrated science of aesthetics: Getting rid of the main misunderstandings in evolutionary aesthetics." Fragmentum, no. 53 (September 15, 2019): 91–105. http://dx.doi.org/10.5902/2179219439295.

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38

Killin, Anton. "The arts and human nature: evolutionary aesthetics and the evolutionary status of art behaviours." Biology & Philosophy 28, no. 4 (2013): 703–18. http://dx.doi.org/10.1007/s10539-013-9371-5.

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Carballal, Adrian, Carlos Fernandez-Lozano, Nereida Rodriguez-Fernandez, Luz Castro, and Antonino Santos. "Avoiding the Inherent Limitations in Datasets Used for Measuring Aesthetics When Using a Machine Learning Approach." Complexity 2019 (January 8, 2019): 1–12. http://dx.doi.org/10.1155/2019/4659809.

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An important topic in evolutionary art is the development of systems that can mimic the aesthetics decisions made by human begins, e.g., fitness evaluations made by humans using interactive evolution in generative art. This paper focuses on the analysis of several datasets used for aesthetic prediction based on ratings from photography websites and psychological experiments. Since these datasets present problems, we proposed a new dataset that is a subset of DPChallenge.com. Subsequently, three different evaluation methods were considered, one derived from the ratings available at DPChallenge.

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Pelkey, Jamin. "Aesthetics of Language Evolution." Linguistic Frontiers 8, no. 1 (2025): 1–10. https://doi.org/10.2478/lf-2025-0003.

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Abstract Could a theory of aesthetic sense-making help move domain-general theories of evolution beyond mere Darwinian assumptions? To show how this could work, I apply C. S. Peirce’s approach to analogy as active-inference and his triadic theory of evolution to an original language development case study involving novel paradigm formation over a six-week period by a child aged 1;07–1;09 in the domain of free play focused on a set of blocks. In referring to the blocks, the child produces creative lexical blends involving abstractions drawn from shape, colour, and food-based iconicities. In the

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41

Aaron Kozbelt. "Contemporary Evolutionary Aesthetics: The View from the Humanities (and Humanists)." Evolutionary Studies in Imaginative Culture 1, no. 2 (2017): 95. http://dx.doi.org/10.26613/esic.1.2.51.

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Seghers, Eveline. "Of Darwin and Other Demons: the Evolutionary Turn in Aesthetics." Kultura-Społeczeństwo-Edukacja 8, no. 2 (2015): 73. http://dx.doi.org/10.14746/kse.2015.2.5.

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Kozbelt, Aaron. "Aesthetics, Modalities, Evolution, and Creativity: Commentary on Friedman et al. (2024)." Empirical Musicology Review 19, no. 2 (2025): 88–94. https://doi.org/10.18061/emr.v19i2.9925.

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This commentary situates Friedman et al. (2024) – and by extension, Clemente et al. (2021) – within a broader research context. Both papers raise important issues, but neither study’s result can be considered definitive. The operationalization and assessment of aesthetic constructs across many investigations should reflect the inherent diversity of human artmaking, yielding a structured sense of the conditions under which modality-specific versus modality-general representations predominate in aesthetic or evaluative cognition. Additionally, I note that this research enterprise touches on two

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Lambert, Nicholas, William Latham, and Frederic Fol Leymarie. "The Emergence and Growth of Evolutionary Art - 1980–1993." Leonardo 46, no. 4 (2013): 367–75. http://dx.doi.org/10.1162/leon_a_00608.

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One of the most interesting-if frustrating-aspects of charting the history of computer art is trying to understand the intersections of specific technologies and artistic experimentation. It is rarely as clear-cut as a simple linear influence of one to the other, partly because artists are able to envision all kinds of possibilities that technology might enable them to realize in some kind of form, but as they do so, the technology is itself shaped, especially in terms of how it is perceived by others. Do artists find a way to give technologies an aesthetic outlet, or do some technologies poss

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La, Mendola Dario. "Le origini estetiche del giardino e le quinte selvagge della natura." Papireto 2 (December 1, 2023): 147–53. https://doi.org/10.57661/PAPIRETO/0208.

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The essay, refuting a widely accepted position in the history of the economy, and starting from an unprecedented assumption, intends to demonstrate that the gardens were not built for utilitarian reasons, but, by observing the human cultural evolutionary development on earth, for questions of aesthetic, giving autonomy to human thought, freeing it from economic logic, and thus linking the characteristics of evolution with those of aesthetics, furthermore proposing the theory of the wild scenes of nature as a place/experience through which to obtain knowledge not yet explored by intellect, for

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Sumpter, Caroline. "“NO ARTIST HAS ETHICAL SYMPATHIES”: OSCAR WILDE, AESTHETICS, AND MORAL EVOLUTION." Victorian Literature and Culture 44, no. 3 (2016): 623–40. http://dx.doi.org/10.1017/s1060150316000127.

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“There is no mode of action, no form of emotion, that we do not share with the lower animals” (137). This evolutionary claim is not attributable to Darwin, but to Oscar Wilde, who allows Gilbert to voice this bold assertion in “The True Function of Criticism.” While critics have long wrestled with the ethical stance and coherence of Wilde's writings, they have overlooked a significant influence on his work: debates concerning the evolution of morality that animated the periodicals in which he was writing. Wilde was fascinated by the proposition that complex human behaviours, including moral an

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47

McNeil, M. "Darwin's Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema." Screen 52, no. 1 (2011): 131–33. http://dx.doi.org/10.1093/screen/hjq056.

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48

Swonke, Bertram. "Visual Preferences and Environmental Protection: Evolutionary aesthetics applied to environmental education." Environmental Education Research 6, no. 3 (2000): 259–67. http://dx.doi.org/10.1080/713664681.

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49

Coulter-Smith, Graham. "Evolutionary aesthetics: rethinking the role of function in art and design." Technoetic Arts 8, no. 1 (2010): 85–91. http://dx.doi.org/10.1386/tear.8.1.85/1.

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Cofar, Florin, Anca Ștefania Mesaroș, Smaranda Buduru, et al. "Cosmetic Surgery or Not? A Dual Perspective from Professionals and Laypeople on the Facial Aesthetic Improvement of Patients Undergoing Complex Treatments—A Pilot Study." Healthcare 13, no. 8 (2025): 947. https://doi.org/10.3390/healthcare13080947.

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Introduction: Facial aesthetics is an intricate domain bridging biology, psychology, and culture. It is influenced by evolutionary traits and societal norms, often driving demand for cosmetic treatments. While public perceptions of these interventions are widely studied, professional evaluations remain underexplored. This study examines differences in aesthetic judgement and treatment identification between healthcare professionals and laypeople, aiming to enhance clinical practice and research in facial aesthetics. Methods: A cross-sectional survey, administered via Microsoft Forms, assessed

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