Susan Yelavich, introduces the history of aesthetics chronologically, followed by having illustrations of artworks fitting the area. The writer, in the first paragraphs speaks about ornament and pattern in a scientific way, by bringing neuropsychologist Oliver Sacks who says, " Its hybrid languages are the aesthetic equivalent of our fast-paced and complex exchanges". He speaks about the way about the complexity of brains coping with organization, when focusing the mind through the eye engaging in ornaments containing rhythm it increases the appreciation of the viewer. Followed by a history lesson through the admiration and respect lost throughout time, a classical way of hiring an artisan followed by an apprentice, and through technology breaking the traditional way for the elite. Social refinement was completely changed by the advances that the 20th century brought for the so called modernism movement.
After, one-third of the article the writing style changes into small categories rather than continuing the smooth transitions launched at the start. The writer in the middle of the passage keeps enforcing the fact that people take for granted the complexity of patterns throughout the daily life routine. Elaborating in what is exclusivity rolls back and forth because of personal style and culture, presenting factors in history such as abstractions in mathematical forms of various ways of classifying it as " true beauty". Internet along with softwares have let virtual design artists inherit the motifs of the past and pull them towards the present, allowing them to include installations with LED lights or programming a future architectural sculpture. But as much as the progression through time, the writer suggests that, "without the hand, and a designer’s, discretion, digital acrobatics only produce an empty virtuosity."
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