Can an ugly experiment be a good experiment? Philosophers have identified many beautiful experiments and explored ways in which their beauty might be connected to their epistemic value. In contrast, the present chapter seeks out (and celebrates) ugly experiments. Among the ugliest are those being designed by AI algorithms. Interestingly, in the contexts where such experiments tend to be deployed, low aesthetic value correlates with high epistemic value. In other words, ugly experiments can be good. Given this, we should conclude (...) that beauty is not generally necessary or sufficient for epistemic value, and increasing beauty will not generally tend to increase epistemic value. (shrink)

This chapter relocates the debate about the theoretical virtues to the empirical level and argues that the question of whether the virtues (and what virtues, if any) have epistemic import is best answered empirically, through an examination of actual scientific theories and hypotheses in the history of science. As a concrete example of this approach, the chapter discusses a case study from the mid-nineteenth-century debate about the transmissibility of puerperal fever. It argues that this case shows that the virtues are (...) at least sometimes epistemic, but also that neither scientific realists nor anti-realists get it quite right: the virtues, even if epistemic, are not necessarily truth-conducive, but neither are they merely pragmatic. It also argues that the discussion of puerperal fever shows that the virtue question, as it is currently featured in the scientific realism debate, ought to be reformulated. We should examine not just whether a given scientific theory has virtues or not, but rather how debates among competing theories, all of which have some virtues, get resolved. (shrink)

This book develops a naturalistic aesthetic theory that accounts for aesthetic phenomena in mathematics in the same terms as it accounts for more traditional aesthetic phenomena. Building upon a view advanced by James McAllister, the assertion is that beauty in science does not confine itself to anecdotes or personal idiosyncrasies, but rather that it had played a role in shaping the development of science. Mathematicians often evaluate certain pieces of mathematics using words like beautiful, elegant, or even ugly. Such evaluations (...) are prevalent, however, rigorous investigation of them, of mathematical beauty, is much less common. The volume integrates the basic elements of aesthetics, as it has been developed over the last 200 years, with recent findings in neuropsychology as well as a good knowledge of mathematics. The volume begins with a discussion of the reasons to interpret mathematical beauty in a literal or non-literal fashion, which also serves to survey historical and contemporary approaches to mathematical beauty. The author concludes that literal approaches are much more coherent and fruitful, however, much is yet to be done. In this respect two chapters are devoted to the revision and improvement of McAllister’s theory of the role of beauty in science. These antecedents are used as a foundation to formulate a naturalistic aesthetic theory. The central idea of the theory is that aesthetic phenomena should be seen as constituting a complex dynamical system which the author calls the aesthetic as process theory. The theory comprises explications of three central topics: aesthetic experience, aesthetic value and aesthetic judgment. The theory is applied in the final part of the volume and is used to account for the three most salient and often used aesthetic terms often used in mathematics: beautiful, elegant and ugly. This application of the theory serves to illustrate the theory in action, but also to further discuss and develop some details and to showcase the theory’s explanatory capabilities. (shrink)

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty as employed (...) by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (shrink)

'Reason, Causation and Compatibility with the Phenomena' strives to give answers to the philosophical problem of the interplay between realism, explanation and experience. This book is a compilation of essays that recollect significant conceptions of rival terms such as determinism and freedom, reason and appearance, power and knowledge. This title discusses the progress made in epistemology and natural philosophy, especially the steps that led from the ancient theory of atomism to the modern quantum theory, and from mathematization to analytic philosophy. (...) Moreover, it provides possible gateways from modern deadlocks of theory either through approaches to consciousness or through historical critique of intellectual authorities. This work will be of interest to those either researching or studying in colleges and universities, especially in the departments of philosophy, history of science, philosophy of science, philosophy of physics and quantum mechanics, history of ideas and culture. Greek and Latin Literature students and instructors may also find this book to be both a fascinating and valuable point of reference. (shrink)

Complex systems are to be seen as typically having multiple levels of organization. For instance, in the behavioural and cognitive sciences, there has been a long lasting trend, promoted by the seminal work of David Marr, putting focus on three distinct levels of analysis: the computational level, accounting for the What and Why issues, the algorithmic and the implementational levels specifying the How problem. However, the tremendous developments in neuroscience knowledge about processes at different scales of organization together with the (...) complexity of today cognitive theories suggest that there will hardly be only three levels of explanation. Instead, there will be many different degrees of commitments corresponding to the different granularities—from high-level (behavioural) models to low-level (neural and molecular) models of the cognitive research program. For instance, Bayesian approaches, that are usually advocated for formalizing Marr’s computational level and rational behaviour, have even been adopted to model synaptic plasticity and axon guidance by molecular gradients. As a result, we can consider the behavioural scientist as dealing with models at a multiplicity of levels. The purpose of this Research Topic in Frontiers in Theoretical and Philosophical Psychology is to promote an approach to the role of the levels and explanation and models which is of interest for cognitive scientists, neuroscientists, psychologists, behavioural scientists, and philosophers of science. (shrink)

This paper examines the form of mental representation of scientific theories in scientists and nonscientists. It concludes that images and schemas are not the appropriate form of mental representation for scientific theories but that mental models and perceptual symbols do seem appropriate for representing physical/mechanical phenomena. These forms of mental representation are postulated to have an analogical relation with the world and it is this relationship that gives them strong explanatory power. It is argued that the construct of naïve theories (...) as used in developmental psychology may be the appropriate form of mental representation for non physical/mechanical domains. The paper adopts a strong form of psychologism in the philosophy of science and argues that model-based approaches to scientific theories are more appropriate forms of representation for scientific theories than the formalist approaches that dominate current philosophy of science. (shrink)

The various aesthetic phenomena found repeatedly in the scientific enterprise stem from the role of God as artist. If the Creator is an artist, how and why natural scientists study the divine art work can be understood using theological aesthetics and the philosophy of art. The aesthetic phenomena considered here are as follows. First, science reveals beauty and the sublime in natural phenomena. Second, science discovers beauty and the sublime in the theories that are developed to explain natural phenomena. Third, (...) the search for beauty often guides scientists in their work. Fourth, where beauty is perceived, feelings of the sublime often also follow upon further contemplation. This linkage of beauty in science with truth and the sublime runs counter to most aesthetic theory since Kant. Scholarship in theological aesthetics has recently argued that the modern and postmodern elevation of the sublime over beauty is merely a preference that reveals a bias against transcendence—against God. If doing and understanding science can show this sundering of the sublime from the beautiful to be in error, science also gives evidence of transcendence. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

This paper discusses the viability of claims of mathematical beauty, asking whether mathematical beauty, if indeed there is such a thing, should be conceived of as a sub-variety of the more commonplace kinds of beauty: natural, artistic and human beauty; or, rather, as a substantive variety in its own right. If the latter, then, per the argument, it does not show itself in perceptual awareness – because perceptual presence is what characterises the commonplace kinds of beauty, and mathematical beauty is (...) not among these. I conclude that the reference to mathematical beauty merely expresses the awe in the mathematician about the intricate complexities and simplicity of certain proofs, theorems or mathematical “objects.”. (shrink)

In this article I examine the status of putative aesthetic judgements in science and mathematics. I argue that if the judgements at issue are taken to be genuinely aesthetic they can be divided into two types, positing either a disjunction or connection between aesthetic and epistemic criteria in theory/proof assessment. I show that both types of claim face serious difficulties in explaining the purported role of aesthetic judgements in these areas. I claim that the best current explanation of this role, (...) McAllister's 'aesthetic induction' model, fails to demonstrate that the judgements at issue are genuinely aesthetic. I argue that, in light of these considerations, there are strong reasons for suspecting that many, and perhaps all, of the supposedly aesthetic claims are not genuinely aesthetic but are in fact 'masked' epistemic assessments. (shrink)

The nature of the general connection between emotion and value, and of the various connections between specific emotions and values, lies at the heart of philosophical discussion of the emotions. It is also central to some accounts of the nature of value itself, of value in general but also of the specific values studied within particular philosophical domains. These issues all form the subject matter of this article, and they in turn are all connected by two main questions: (i) How (...) do emotions disclose or create values? (ii) What are the epistemic credentials of emotion in justifying evaluative thought and discourse? This second question obviously presupposes some answer to the first question concerning the way in which emotions reveal, constitute, or create value. (shrink)

This article provides a historical, philosophical, and psychological analysis of the recent discovery that reoviruses are oncolytic, capable of infecting and destroying many kinds of cancer cells. After describing Patrick Lee's very indirect path to this discovery, I discuss the implications of this case for understanding the nature of scientific discovery, including the economy of research, anomaly recognition, hypothesis formation, and the role of emotion in scientific thinking. Lee's discoveries involved a combination of serendipity, abductive and deductive inference, and emotional (...) cognition. (shrink)

The publication of The Aesthetics of Science invites us to reflect, beyond the range of individual arguments advanced in it, on the general aims that motivate t.

Consciousness is a central theme of Susanne Langer's three-volume work Mind: An essay on human feeling. Langer proposes an evolutionary history of consciousness in order to establish a biological vocabulary for discussing the subject. This vocabulary is based on the qualities of organic processes rather than generic material objects. Her historical scenario and new terminology suggest that Langer views the “cash value” of consciousness in terms of symbolic thinking and aesthetics. This paper provides an overview of Langer's proposed evolutionary scenario (...) of consciousness, along with an examination of her process-oriented philosophy of mind. It is suggested that Langer's basic ideas are importantly similar to those present in dynamical systems theory. As research on consciousness in dynamical systems theory is still young, researchers in this field may find in Langer's work ideas for future exploration, particularly in its connection with aesthetics. (shrink)

Ever since Plato’s famous attack on artists and poets in Book 10 of The Republic, lovers of literature have felt pressed to defend poetry, and indeed from ancient times down to the present, literature and art have had to fight various battles against philosophy, religion, and science. After providing a brief overview of this conflict and then arguing that between poetry and science there are some noteworthy similarities---that is, that some of the basic mental structures with which the scientist studies (...) the “text‘ of nature (facts, laws, theories) find their counterparts in ways an informed reader studies the poetic text, I develop what I see as the most important differences between poetry, on the one hand, and science, philosophy, and theology, on the other. These differences lie chiefly in two areas: (1) in the stance that each takes toward language itself and (2) in the stance each takes toward that ancient polarity between the one and the many. The aim of my argument is neither to privilege poetry over the other modes of knowing the world nor to grant, particularly to science in its reductive “objectivity,‘ a higher epistemological status than that accorded to poetry and the arts. Instead, I wish to argue that science, by pushing the boundaries of knowledge about the material world, shows the poet, as well as the theologian, some of the more important work to be done and that poetry, with its emphasis on the particular over the abstract and on the ambiguities and paradoxes of language as inherently metaphorical, serves science and religion by providing a caution against the naive acceptance of language as literal and the consequent enthrallment to the power of absolutes and totalizing abstractions. (shrink)

In Fiction, Truth and Literature, Lamarque and Olsen argue that if a critic claims or attempts to prove that the outlook of a work of literature is true or false, he is not engaging in literary or aesthetic appreciation. This paper argues against this position by adducing cases where literary critics discuss the truth or falsity of a work’s view, when their opinions are obviously relevant to the work’s aesthetic assessment. The paper considers in detail the way factual errors damage (...) a work’s aesthetic standing, and shows that Lamarque and Olsen’s alternative account of the role of propositional truths in literature only looks plausible because it considers a restricted range of examples. Finally, it considers the role intention, date and genre play in discussions of the aesthetic damage done by literal falsehood. (shrink)

The purpose of this article is to integrate two outstanding problems within the philosophy of science. The first concerns what role aesthetics plays in scientific thinking. The second is the problem of how logically testable ideas are generated (the so-called "psychology of research" versus "logic of (dis)proof" problem). I argue that aesthetic sensibility is the basis for what scientists often call intuition, and that intuition in turn embodies (in a literal physiological sense) ways of thinking that have their own meta-logic. (...) Thus, aesthetics is a form of cognition. Scientists think not in equations or words or other logical abstractions, but emotionally and sensually, using visual and aural images, kinesthetic and other proprioceptive feelings, sensations, patterns, and analogies. These aesthetic forms of thinking have their own logics that I call "synosia", from the root words synaesthesia (a combining of senses) and gnosis, "to know". Synosia denotes understanding that integrates feeling that one knows with feeling what one knows. Eminent scientists universally describe an explicitly secondary process in which such personal knowledge must be "translated" into a formal language, such as words or equations, in order to be communicated to other people. Many of the unsolved problems that philosophers of science (as well as psychologists and artificial intelligence researchers) have had in making sense of scientific thinking have arisen from confusing the form and content of the final translations with the hidden means by which scientific insights are actually achieved. (shrink)

Achieving understanding of nature is one of the aims of science. In this paper we offer an analysis of the nature of scientific understanding that accords with actual scientific practice and accommodates the historical diversity of conceptions of understanding. Its core idea is a general criterion for the intelligibility of scientific theories that is essentially contextual: which theories conform to this criterion depends on contextual factors, and can change in the course of time. Our analysis provides a general account of (...) how understanding is provided by scientific explanations of diverse types. In this way, it reconciles conflicting views of explanatory understanding, such as the causal-mechanical and the unificationist conceptions. (shrink)

This paper problematizes current thinking about education by arguing that the question of educational purpose is not simply a socio-political question concerned with what the ends should be and why...

This paper presents an analysis of emotional and affectively toned discourse in biomedical engineering researchers’ accounts of their problem solving practices. Drawing from our interviews with scientists in two laboratories, we examine three classes of expression: explicit, figurative and metaphorical, and attributions of emotion to objects and artifacts important to laboratory practice. We consider the overall function of expressions in the particular problem solving contexts described. We argue that affective processes are engaged in problem solving, not as simply tacked onto (...) reasoning but as integral to it. The examples we present illustrate the close relation of emotion to problem solving and experimentation; they also implicate social and cultural dimensions of emotion expression. The analysis underscores a need to consider emotional expression to be intimately and importantly tied to the cognitive achievements and social negotiations of laboratory practices. (shrink)

Should judgments of beauty play a guiding role in theoretical science even if beauty is not a sign of truth? In this paper I argue that they should in certain cases. If we analyze the rationality of theoretical pursuit using decision theory, a theory’s beauty can influence the utilities of the various options confronting the researcher. After considering the views of Pierre Duhem and Thomas Kuhn on aesthetics in science, I suggest that because we value freedom of inquiry we rightly (...) allow scientists some choice in how they value aesthetic properties of theories and thus some freedom to use beauty to guide their research program. (shrink)

In Beauty and Revolution in Science, James McAllister advances a rationalistic picture of science in which scientific progress is explained in terms of aesthetic evaluations of scientific theories. Here I present a new model of aesthetic evaluations by revising McAllister’s core idea of the aesthetic induction. I point out that the aesthetic induction suffers from anomalies and theoretical inconsistencies and propose a model free from such problems. The new model is based, on the one hand, on McAllister’s original model and (...) on further developments by Theo Kuipers in his “Beauty, a Road to the Truth?”. On the other hand, it is based on empirical findings about affection and emotion, and a naturalistic aesthetic theory. The new model is thus a naturalistic model with a wider explanatory range and much more internal consistency that McAllister’s. (shrink)

There are two distinct interpretations of the role that Feynman diagrams play in physics: (i) they are calculational devices, a type of notation designed to keep track of complicated mathematical expressions; and (ii) they are representational devices, a type of picture. I argue that Feynman diagrams not only have a calculational function but also represent: they are in some sense pictures. I defend my view through addressing two objections and in so doing I offer an account of representation that explains (...) why Feynman diagrams represent. The account that I advocate is a version of that defended by Kendall Walton, which provides us with a basic characterization of the way that representations in general work and is particularly useful for understanding distinctively pictorial representations - in Walton's terms, depictions. The question of the epistemic function of Feynman diagrams as pictorial representations is left for another time. (shrink)

Explaining phenomena is a primary goal of science. Consequently, it is unsurprising that gaining a proper understanding of the nature of explanation is an important goal of science education. In order to properly understand explanation, however, it is not enough to simply consider theories of the nature of explanation. Properly understanding explanation requires grasping the relation between explanation and understanding, as well as how explanations can lead to scientific knowledge. This article examines the nature of explanation, its relation to understanding, (...) and how explanations are used to generate scientific knowledge via inferences to the best explanation. Studying these features and applications of explanation not only provides insight into a concept that is important for science education in its own right, but also sheds light on an aspect of recent debates concerning the so-called consensus view of nature of science (NOS). Once the relation between explanation, understanding, and knowledge is clear, it becomes apparent that science is unified in important ways. Seeing this unification provides some support for thinking that there are general features of NOS of the sort proposed by the consensus view and that teaching about these general features of NOS should be a goal of science education. (shrink)

This introduction to the special issue on "Aesthetics of Science" reviews recent philosophical research on aesthetic aspects of science. Topics represented in this research include the aesthetic properties of scientific images, theories, and experiments; the relation of science and art; the role of aesthetic criteria in scientific practice and their effect on the development of science; aesthetic aspects of mathematics; the contrast between a classic and a Romantic aesthetic; and the relation between emotion, cognition, and rationality.

Inconsistencies in science take several forms. Some occur at the level of substantive claims about the world. Others occur at the level of methodology, and take the form of dilemmas, or cases of conflicting epistemic or cognitive values. In this article, I discuss how methodological dilemmas arise. I then consider how scientists resolve them. There are strong grounds for thinking that emotional judgement plays an important role in resolving methodological dilemmas. Lastly, I discuss whether and under what conditions this reliance (...) on emotional judgement is rationally warranted. I consider two possible mechanisms, based on coherence and induction, able to ensure that scientists’ emotional responses to methodological dilemmas are rationally warranted. (shrink)

In this paper I argue that aim-oriented empiricism (AOE), a conception of natural science that I have defended at some length elsewhere[1], is a kind of synthesis of the views of Popper, Kuhn and Lakatos, but is also an improvement over the views of all three. Whereas Popper's falsificationism protects metaphysical assumptions implicitly made by science from criticism, AOE exposes all such assumptions to sustained criticism, and furthermore focuses criticism on those assumptions most likely to need revision if science is (...) to make progress. Even though AOE is, in this way, more Popperian than Popper, it is also, in some respects, more like the views of Kuhn and Lakatos than falsificationism is. AOE is able, however, to solve problems which Kuhn's and Lakatos's views cannot solve. [Back to Top]. (shrink)

According to Karl Popper, science cannot verify its theories empirically, but it can falsify them, and that suffices to account for scientific progress. For Popper, a law or theory remains a pure conjecture, probability equal to zero, however massively corroborated empirically it may be. But it does just seem to be the case that science does verify empirically laws and theories. We trust our lives to such verifications when we fly in aeroplanes, cross bridges and take modern medicines. We can (...) do some justice to this apparent capacity of science to verify if we make a number of improvements to Popper’s philosophy of science. The key step is to recognize that physics, in accepting unified theories only, thereby makes a big metaphysical assumption about the nature of the universe. The outcome is a conception of scientific method which facilitates the criticism and improvement of metaphysical assumptions of physics. This view provides, not verification, but a perfect simulacrum of verification indistinguishable from the real thing. (shrink)

This paper considers the legacy of Kuhn and his Structure with regard to the current history and philosophy of science. Kuhn can be seen as a myth breaker, whose contribution is the way he connected historical and philosophical studies of science, questioning the cumulativist image and demanding historical responsibility of the views of science. I build on Kuhn’s legacy and outline a suggestion for theoretical and philosophical study of history (of science), which can be subdivided into three categories. The first (...) is the philosophical analysis of historical interpretation and its relation to the historical record. The second is ‘theoretical history’ in which one tries to infer philosophically relevant interpretations on the nature of science on the basis of historical evidence. The third is the conceptual reflection of the assumptions and implications of the contemporary historiography of science. At the end I suggest that theoretical and philosophical study of history offers a fresh way to make history and philosophy relevant to each other. (shrink)

In this article I give a naturalistic-cum-formal analysis of therelation between beauty, empirical success, and truth. The analysis is based on the onehand on a hypothetical variant of the so-called `mere-exposure effect'' which has been more orless established in experimental psychology regarding exposure-affect relationshipsin general and aesthetic appreciation in particular (Zajonc 1968; Temme 1983; Bornstein 1989;Ye 2000). On the other hand it is based on the formal theory of truthlikeness andtruth approximation as presented in my From Instrumentalism to Constructive Realism (...) (2000).The analysis supports the findings of James McAllister in his beautifulBeauty and Revolution in Science (1996), by explaining and justifying them.First, scientists are essentially right in regarding aesthetic criteria useful for empiricalprogress and even for truth approximation, provided they conceive of them as less hard thanempirical criteria. Second, the aesthetic criteria of the time, the `aesthetic canon'', maywell be based on `aesthetic induction'' regarding nonempirical features of paradigms of successfultheories which scientists have come to appreciate as beautiful. Third, aestheticcriteria can play a crucial, schismatic role in scientific revolutions. Since they may well be wrong, they may, in the hands of aesthetic conservatives, retard empirical progress and hence truth approximation, but this does not happen in the hands of aesthetically flexible, `revolutionary'' scientists. We may find totallyopposite things beautiful: a simplemathematical principle as well as a series of unrepeatable complex contingencies. It is a matter of psychology.(Stephen Jay Gould, translated passage from (Kayzer 2000, 30)). (shrink)

This paper primarily deals with theconceptual prospects for generalizing the aim ofabduction from the standard one of explainingsurprising or anomalous observations to that ofempirical progress or even truth approximation. Itturns out that the main abduction task then becomesthe instrumentalist task of theory revision aiming atan empirically more successful theory, relative to theavailable data, but not necessarily compatible withthem. The rest, that is, genuine empirical progress aswell as observational, referential and theoreticaltruth approximation, is a matter of evaluation andselection, and possibly new (...) generation tasks forfurther improvement. The paper concludes with a surveyof possible points of departure, in AI and logic, forcomputational treatment of the instrumentalist taskguided by the `comparative evaluation matrix''. (shrink)

Knowledge of many facts does not amount to understanding unless one also has a sense of how the facts fit together. This aspect of coherence among scientific observations and theories is usually overlooked in summaries of scientific method, since the emphasis is on justification and verification rather than on understanding. I argue that the inter-theoretic coherence, as the hallmark of understanding, is an essential and informative component of any accurate description of science.

In the twentieth century, science and art had a grand paradigmatic shift each other. This study aims at comparing the epistemologies of surrealism and quantum mechanics that emerged in the 1930s and interpreting the paintings from a physical viewpoint, with a focus on the Copenhagen interpretation. In terms of epistemologies, the arbitrary relationship between an object and an image advocated by Magritte may correspond to the indeterminacy between physical entities and measurement. This study analysed the paintings of Magritte from the (...) point of view of the features of the Copenhagen interpretation categories of wave–particle duality, indeterminacy, probabilistic interpretation and quantum hypothesis. Based on such discussions, this study gives some implications for enhancing creativity through an interdisciplinary approach. (shrink)

This article starts an engagement on the aesthetics of experiments and offers an account for analysing how aesthetics features in the design, evaluation and reception of experiments. I identify two dimensions of aesthetic evaluation of experiments: design and significance. When it comes to design, a number of qualities, such as simplicity, economy and aptness, are analysed and illustrated with the famous Meselson-Stahl experiment. Beautiful experiments are also regarded to make significant discoveries, but I argue against a narrow construal of experimental (...) aims. By drawing on the plurality of goals experimenters have and diversity of aesthetic responses, I argue that experiments are aesthetically appreciated both when they discover and when they produce disruptive results. (shrink)

Scientists often use aesthetic values in the evaluation and choice of theories. Aesthetic values are not only regarded as leading to practically more useful theories but are often taken to stand in a special epistemic relation to the truth of a theory such that the aesthetic merit of a theory is evidence of its truth. This paper explores what aesthetic considerations influence scientists' reasoning, how such aesthetic values relate to the utility of a scientific theory, and how one can justify (...) the epistemic role for such values. The paper examines ways in which the link between beauty and truth can be defended, the challenges facing such accounts, and explores alternative epistemic roles for aesthetic values in scientific practice. (shrink)

What do mathematicians mean when they use terms such as ‘deep’, ‘elegant’, and ‘beautiful’? By applying empirical methods developed by social psychologists, we demonstrate that mathematicians' appraisals of proofs vary on four dimensions: aesthetics, intricacy, utility, and precision. We pay particular attention to mathematical beauty and show that, contrary to the classical view, beauty and simplicity are almost entirely unrelated in mathematics.

La creación de imágenes científicas es uno de los ámbitos más activos dentro de la cultura visual. Este artículo describe, en su primera parte, las cuatro dimensiones principales de la imagen científica (las dimensiones cognitiva, constructiva, pragmática y estética), para poner el énfasis al final de su descripción en la presente convergencia de la ciencia y del arte. En su segunda parte analiza un conocido caso de imagen paracientífica actual, donde a través de una específica combinación de dichas cuatro dimensiones (...) comparecen ejemplarmente buen número de las obsesiones a la vez epistémicas y políticas de la contemporaneidad. (shrink)

‘Simplicity’ comes up in different senses in scientific methodology. The simplicity criterion at issue here is relied on in all inductive inference, it’s argued. Therefore, it cannot be inductively...

Many physicians assert that new cost-control mechanisms inappropriately interfere with clinical decision-making. They claim that high costs arise from poorly practiced medicine, and argue that effective utilization of resources is best promoted by advancing the scientific and ethical ideals of medicine. However, the claim is not warranted by empirical evidence. In this essay, I show how it rests upon aesthetic considerations associated with diagnostic elegance. I first consider scientific rationality generally. After a review of analytical empiricist and socio-historical approaches in (...) the philosophy of science, a form of Kant's aesthetic is used to explain how scientific discovery and justification are linked, and to show how meta-theoretical considerations associated with the goals and method of science work together with exemplars of practice. This analysis enables us to understand how the ideals of medicine as a science guide the initial patient history and physical exam in such a way that a parsimonious use of tests is indicated. Aesthetic considerations unite the basic scientific and ethical commitments of the modern medical paradigm and are central for rightly understanding clinical judgment. (shrink)

This paper examines the points of disagreement between Petrus Camper and J. W. von Goethe regarding the existence of the inter-maxillary bone in humans as the link between man and the rest of nature. This historical case illustrates the fundamental role of aesthetic judgements in scientific discovery. Thus, I shall show how the eighteenth century discovery of the inter-maxillary bone in humans was largely determined by aesthetic factors—specifically, those sets of assumptions and criteria implied in the aesthetic schemata of Camper (...) and Goethe. I argue that the relevance of scientifically ascertainable morphological properties that count as evidence for the existence of bona fide anatomical structures depend on the aesthetic schema adopted by the communities assessing the classification. At the same time, I propose and explain mechanisms by which aesthetic considerations might determine the acceptability of empirical claims about the world. Based on the reconstruction of the arguments of Camper and Goethe, I conclude that aesthetic considerations play a substantive role in both the generation and preliminary evaluation of scientific hypotheses. This paper suggests a complementary relation between the mediation of aesthetic criteria in theory choice and in scientific discovery in that while aesthetic considerations in theory choice lead to conservatism; in the context of discovery they often lead to innovation. (shrink)

One of our purposes here is to expose something of the elementary logical structure of abductive reasoning, and to do so in a way that helps orient theorists to the various tasks that a logic of abduction should concern itself with. We are mindful of criticisms that have been levelled against the very idea of a logic of abduction; so we think it prudent to proceed with a certain diffidence. That our own account of abduction is itself abductive is methodological (...) expression of this diffidence. A second objective is to test our conception of abduction's logical structure against some of the more promising going accounts of abductive reasoning. We offer our various suggestions in a benignly advisory way. The primary targets of our advice is ourselves, meant as guides to work we have yet to complete or, in some instances, start. It is possible that our colleagues in the abduction research communities will find our counsel to be of some interest. But we repeat that our first concern is to try to get ourselves straight about what a logic of abduction should encompass. (shrink)

Agnes Arber (1879-1960) was a British botanist who was a leading plant morphologist during the first half of the 20th century. She also wrote on the history and philosophy of botany. I argue in this article that her philosophical work on form and on how the work of the mind and the eye relate to each other in morphological research are relevant to the science of today. Arber's unusual blend of interests - in botany, history, philosophy, and art - put (...) her in a unique position to examine issues of form. Even her unorthodox ideas on evolution can now be seen as fitting in well with discussions of natural selection as the predominant engine of evolutionary change. Arber's views also throw light on present work dealing with developmental plant genetics and with the study of protein form. I will further argue that her marginal position relative to institutional science, while it may have left her vulnerable to criticism, also made possible her deep philosophical reflections on morphology. (shrink)

The theoretical physicist Paul Dirac rejected, explicitly on aesthetic grounds, a successful theory known as quantum electrodynamics (QED), which is the prototype for the family of theories known as quantum field theories (QFTs). Remarkably, the theoretical physicist Steven Weinberg, also largely on aesthetic grounds, supports QED and other QFTs. In order to evaluate these opposing aesthetic views a short introduction to the physical properties of QFTs is presented together with a detailed analysis of the aesthetic claims of Dirac and Weinberg. (...) It turns out that Dirac rejected QED, without regard to its success, because this theory fails to yield to what he perceived as beautiful mathematics, whereas Weinberg's support of QFTs is founded primarily on the physical concepts of the theories. In particular, he relies on symmetries that are the basis for the construction of the extremely successful current fundamental theories of particles physics. This success was decisive in leading to Weinberg's conviction of the beauty of QFTs. As a result of the evaluation of these approaches, the factors causing scientists to perceive a theory as being a fundamentally beautiful theory are discussed in detail. (shrink)

Einstein's theories of special and general relativity are unanimously praised by scientists for their extraordinary beauty to the extent that some consider the latter to be the most beautiful theory in physics. The grounds for these assertions are assessed here and it is concluded that the beauty of Einstein's theories can be attributed to two of their aspects. The first is that they incorporate all possible ingredients that constitute the beauty of theories: simplicity, symmetry, invariance, unification, etc. The second concerns (...) the perfect logical consistency of Einstein's theories, a crucial factor in the unanimous praise of their beauty. Theories other than Einstein's are also assessed here, namely, electromagnetism and the various quantum theories, and it is concluded that all these suffer from logical flaws. This has resulted in a lack of consensus among scientists with respect to their beauty. Consequently, the unanimous claim that Einstein's theories are of superior beauty as compared to other theories in physics is hereby substantiated. (shrink)