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To say that beauty is in the eye of the beholder means that beauty is largelysubjective so varies from person to person. While the subjectivity view iscommonly held, there is also an objectivity view that seeks to measure beautyor aesthetics in some quantitative manners. Christopher Alexander has longdiscovered that beauty or coherence highly correlates to the number ofsubsymmetries or substructures and demonstrated that there is a shared notionof beauty - structural beauty - among people and even different peoples,regardless of their faiths, cultures, and ethnicities. This notion ofstructural beauty arises directly out of living structure or wholeness, aphysical and mathematical structure that underlies all space and matter. Basedon the concept of living structure, this paper develops an approach forcomputing the structural beauty or life of an image (L) based on the number ofautomatically derived substructures (S) and their inherent hierarchy (H). Toverify this approach, we conducted a series of case studies applied to eightpairs of images including Leonardo da Vinci's Mona Lisa and Jackson Pollock'sBlue Poles. We discovered among others that Blue Poles is more structurallybeautiful than the Mona Lisa, and traditional buildings are in general morestructurally beautiful than their modernist counterparts. This finding impliesthat goodness of things or images is largely a matter of fact rather than anopinion or personal preference as conventionally conceived. The research onstructural beauty has deep implications on many disciplines, where beauty oraesthetics is a major concern such as image understanding and computer vision,architecture and urban design, humanities and arts, neurophysiology, andpsychology.  Keywords: Life; wholeness; figural goodness; head/tail breaks; computervision

Structural Beauty: A Structure-based Approach to Quantifying the Beauty of an Image