If aesthetic relativism falters, the concept of an absolute aesthetic gains traction. This suggests a 'platonic ideal' of beauty, an objective standard existing independently of individual perception. Much like core mathematical principles - discovered rather than invented - certain aesthetic fundamentals might be similarly 'found.' Form, symmetry, its artful disruption (see [[Representing kinematics]]), proportion - these appear across cultures and eras, hinting at a universal appreciation. Could it be that these elements resonate with a deeper structure in the universe, a kind of aesthetic 'truth'? The Lydian dominant scale, for example, connects to the natural overtone series - a physical phenomenon. Is this not a connection between the beautiful and the objectively 'real'? While some might seek a mystical explanation, the core of this idea remains grounded. Aesthetics may have a foundation as solid as the principles of mathematics, an order awaiting our perception and appreciation. Of course, this isn't to say that individual experience and cultural context don't matter. They undeniably shape our perception and appreciation of beauty. The platonic ideal acts more as a touchstone, a reference point against which individual and cultural expressions can be measured and understood. Consider it akin to how different languages express the same mathematical truths. The underlying principles remain constant, yet the way they're articulated and utilized varies. So too with aesthetics; the ideal exists, but its manifestation is wonderfully diverse. This offers a potential bridge between the objective and subjective in aesthetics. It allows for both universal principles and the rich tapestry of individual and cultural interpretations. It's a dynamic model, where appreciation deepens as we understand both the ideal and its varied expressions. ## Platonic challenges in music The Platonic ideal of beauty faces significant challenges when applied to music, primarily due to its inherently embodied nature. Unlike abstract concepts or visual forms, music is deeply rooted in human physiology and sensory experience. The way we experience pitch, rhythm, and timbre is determined by the anatomy of our ears and brain processing, contradicting the idea of a disembodied, abstract ideal form of beauty. Musical preferences and aesthetics vary significantly across cultures and historical periods, challenging the notion of a universal, timeless ideal form of musical beauty. What is considered beautiful or pleasing in one cultural context may be perceived differently elsewhere. This diversity underscores the complex interplay between music, culture, and personal experience, making it difficult to pinpoint a singular, objective ideal. Moreover, music's impact often stems from its ability to evoke emotions and connect with personal experiences. These subjective aspects of music appreciation cannot be reduced to abstract ideals. The emotional resonance we feel when listening to certain pieces is deeply tied to our individual experiences and memories, further complicating the concept of a universal aesthetic standard. The performance and interpretation of music also undermine the idea of a fixed, ideal form. Unlike visual arts, music exists primarily in performance, and each rendition of a piece can vary significantly, even when performed by the same artist. This variability highlights the dynamic nature of music, which resists reduction to a static, idealised form.