According to ‘standard histories’ of nanotechnology, the colorful pictures of atoms produced by scanning probe microscopists since the 1980s essentially inspired visions of molecular nanotechnology. In this paper, I provide an entirely different account that, nonetheless, refers to aesthetic inspiration, First, I argue that the basic idea of molecular nanotechnology, i.e., producing molecular devices, has been the goal of supramolecular chemistry that emerged earlier, without being called nanotechnology. Secondly, I argue that in supramolecular chemistry the production of molecular devices was (...) inspired by an aesthetic phenomenon of gestalt switch, by certain images that referred to both molecules and ordinary objects, and thus symbolically bridged the two worlds. This opened up a new way of perceiving and drawing molecular images and new approaches to chemical synthesis. Employing Umberto Eco’s semiotic theory of aesthetics, I analyze the gestalt switch and the inspiration to build molecular devices and to develop a new sign language for supramolecular chemistry. More generally, I argue that aesthetic phenomena can play an important role in directing scientific research and that aesthetic theories can help understand such dynamics, such that they need to be considered in philosophy of science. (shrink)

The aim of this paper is to engage with the interplay between representational content and design in chemistry and to explore some of its epistemological consequences. Constraints on representational content arising from the aspectual structure of representation can be manipulated by design. Designs are epistemologically important because representational content, hence our knowledge of target systems in chemistry, can change with design. The significance of this claim is that while it has been recognised that the way one conveys information makes a (...) difference to the inferences one can draw from representations in spite of the invariance of informational content, the present paper argues that in chemistry and biochemistry it is often the case that designs have cognitive priority relative to informational content. (shrink)

Philosophie ist konkret und abstrakt. Sie ist konkret im Gespür für Probleme, die jeden – oder jeden in einem bestimmten Bereich – betreffen. Sie ist abstrakt in der kritischen Formulierung und Lösung von Problemen, indem sie von besonderen Bedingungen und Voreingenommenheiten abstrahiert. Philosophie erfordert Kreativität, Phantasie und die Bereitschaft zu Unkonventionellem in der Wahl der Problemzugangsweisen. Wie alle Wissenschaften ist sie als Methode lehr- und entwickelbar, sofern ein gewisses Talent vorhanden ist. Philosophie beginnt dort, wo Wissenschaftler nicht mehr weiter fragen. (...) Was heute Philosophie ist, kann morgen Wissenschaft sein – Naturwissenschaft, Sozialwissenschaft oder Geisteswissenschaft –, Philosophie hat keine Vorlieben. (shrink)