Camera Work: A Photographic Quarterly (1906 (Heft 15))

THE PSYCHOLOGY OF THE CURVE.

THE inability of artists and critics to satisfactorily explain why
some kinds of lines appear to us beautiful, and others ugly,
has encouraged the scientific men to attempt the solution of
the problem on a purely materialistic basis. There are several
such explanations, but the most generally accepted is the
physiological one — the kinesthetic theory. It holds that the esthetic
sensations we feel when looking at the outlines of objects lie not
in their being intrinsically beautiful or ugly — it denies the existence
of abstract qualities of beauty — but in the physical pleasure or dis-
comfort certain muscles of the eye derive from the exercise of directing
it in its efforts to follow the movements of those same curves, straight
lines, and angles.

To explain : Attached to the back of the eyeball are muscles whose
coordinate action enables us to direct the eye where we choose. The theory
claims that these muscles are in more constant use than we would imagine,
for it so happens that the retina of the eye is not equally sensitive over its
whole surface; it is only capable of clear vision on a very small area at its
center, and, to understand the appearance of any given object, it is necessary
to carefully scan it so as to bring every part into this cc field of clear vision ”
— which means, of course, much muscular activity. To even grasp the
construction of the simplest geometrical pattern, it is said that we must
exactly trace each of its lines and angles. The consequence of all this is
that if we study a pattern which contains many similar forms, thus requiring
the frequent repetition of the same muscular (kinesthetic) action, the eye
becomes fatigued; or, if the forms are so arranged that there is brought into
play only one set of muscles to the exclusion of the others, the eye is
similarly fatigued. Nor would it appear to take much to tire these little
bundles of flesh; a series of vertical lines, or of horizontal, or even a single
vertical connected with a horizontal line into a right-angle, is distressing to
behold. In the case of the right-angle the eye uses first the muscles at
the two extremes of one axis, and then abruptly shifts the burden to those
attached to the other axis, and this sudden change appears to be irritating.
Jumps and breaks also irritate, but oblique lines are soothing, for, owing to
the situation of the muscles, it is necessary to use several at the same time,
thus not throwing too great a strain on any single one. Looking at curves,
however, gives the greatest pleasure, not merely because all the muscles are
employed, but every instant a lesser or greater portion of work falls to each,
and this rhythmic change of labor is gratifying. Ellipses, possessing more
variety of curve than the circle, are more satisfying; parabolas still more so,
and so forth.

In other words, this physiological theory of beauty maintains that,
although the muscles in the eye are willing to do their work, yet, like
human beings, they want to do as little of it as possible, and to do it in the
easiest and most comfortabie way, and, if they are flattered, they call things

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