**5. Conclusions**

After all this, it is worthwhile reviewing the main ideas and conclude this exposition. In the first section, I have developed the psychological conversion of beauty in modernity. Through Hume's philosophy, we have seen how beauty goes from being considered an attribute of real things to be a property of the intellectual faculty of taste. By means of this analysis, we have seen how beauty was considered as an objective attribute before modernity, while in modern times the weight is placed on what beauty causes in the subject. The development of the fac‐ ulty of taste can thus be seen as an anticipation of neuroaesthetic analysis. In turn, it can also be seen that neuroaesthetics begin from many hypotheses that were initiated in modernity.

The psychological view continues to develop for several centuries until the emergence of neu‐ roscience. Neuroaesthetic research is enormously valuable in understanding more about how we capture something as complex as beauty. However, on more than one occasion neuroscien‐ tists draw conclusions about beauty in art that go beyond their field of study by not taking into account issues of historical or philosophical order. This is the case especially of the theses of Ramachandran that fall in several reductionisms. It can be said that his theses are reductionist because of six important reasons: (1) he argues that the fact that beautiful art exists is due to a merely evolutionist question, since it served for human survival; (2) he identifies the power to determine how beauty is perceived with knowing what beauty is; (3) he reduces beauty to what is merely"nice"or pleasurable; (4) he identifies beauty only with art, leaving out the perception of beauty in nature; (5) he reduces art and artistic practice to an issue that can be explained as psychophysiological; and (6) despite not having sufficient evidence to determine what beauty or art is, he risks to enact laws about art that claim to have universal reach.

Just as beauty is not reduced to its expression in the art world, neither must art necessarily be identified with beauty. Although the mechanisms through which we perceive beauty can be determined, this does not mean that we know what beauty in art is nor what beauty is or what art is. The analysis of Arthur Danto's philosophy of art and the artistic examples of Marcel Duchamp and Andy Warhol have shown how beauty is not an essential property of art. That is to say, there can be art that is not beautiful without invalidating its status of art. In turn, the analysis of the problem of"indiscernibles"reveals how mere visual perception is not enough to distinguish a work of art.

In this sense, we have seen how the perception of beauty is not a matter of examining the external properties of the work but rather we must know how to capture the internal properties, where a much deeper beauty is found. This internal"beauty"has to do with the meaning that the artist wants to express and how he has configured the work in such a way to express that meaning. That is, beauty is in the inside and thus sensible perception is not enough to capture the beauty of art, but the intellectual and emotional parts of the person must be involved too.
