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)

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)

Unipolar induction, discovered in 1832 by Michael Faraday, is the case of electromagnetic induction in which a conductor and magnet are in relative rotatory motion. Attempts by scientists and engineers in the nineteenth and twentieth centuries to understand unipolar induction by using magnetic lines of force displayed striking national differences that influenced where the first largescale unipolar dynamo was built. This episode is described, as well as the effect of unipolar induction on Albert Einstein's thinking toward the special theory of (...) relativity, in sections 1–6. The analysis of electromagnetic induction in cases where the source of the magnetic field is in motion relative to the conductor is provided in sections 7–9. (shrink)

A rationalist and realist model of scientific revolutions will be constructed by reference to two categories of criteria of theory-evaluation, denominated indicators of truth and of beauty. Whereas indicators of truth are formulateda priori and thus unite science in the pursuit of verisimilitude, aesthetic criteria are inductive constructs which lag behind the progression of theories in truthlikeness. Revolutions occur when the evaluative divergence between the two categories of criteria proves too wide to be recomposed or overlooked. This model of revolutions (...) depends upon a substantial new treatment of aesthetic criteria in science with which much of the paper will therefore be occupied. (shrink)

This report summarizes our preliminary efforts to delineate, at controlled experimentation, the impact of art, and artistic aesthetics, on the way we assess science. Our results suggest that the analytic-synthetic axis of perceptual cognitive handling of the scientific object is unaffected by its artistic non-conventional contextualization, while cognitive abstraction, positive emotions and aesthetic impressions are favoured. Implications to philosophical foundations of the Cartesian scientific method are considered.