“To feel beauty is a better thing than how to understand how we come to feel it.” – Santayana
As the above quote by Santayana encapsulates, Robert C. Morgan expresses in this chapter for Uncontrollable Beauty how easily lost we are in an age of information where data appears constantly, forming new paradigms in what is becoming a more and more virtual environment. This reception is so maxed out that it suggests infinity, managing to exclude qualitative judgements to the meaning of culture. If sensory input defines our experience of beauty and art, it becomes lost in a society we’ve made structured in a way that divides mind from body. He states that it is a postmodern condition in which beauty appears as an imposed value system detached from any recognizable form. Though beauty, as malleable as it is, cannot exist as a fixed sign. It is instead syntactical and without predetermination. Realized through form and intuition, beauty is sensory and beyond the surface. It is made with intent and thusly cannot exist in the same context as commercial media and glamour. Despite the artist’s intent in a work, the beauty of it functions differently and remains elusive. Robert Morgan references the works a few artists such as Kurt Schwitters, Marcel Duchamp, Arakawa/Gins, and of course Moon Beom to exemplify (see above image). As Morgan aptly states, beauty connects us to the world as mind and body.