Theoretical Virtues

Open science is good for both epistemic and social reasons, but in nonobvious ways, it can have detrimental epistemic side effects. Drawing on case studies and the social epistemology of science, I show how practices intended to increase transparency, communication, and information sharing in science can backfire. We should not reject Open Science, just implement it carefully. I argue that we can do so by treating openness as a governing value in science, and thus, that our pursuit of openness needs (...) to be balanced against our pursuit of the whole scheme of values that govern science. (shrink)

Bilimsel faaliyetin ve bilimsel bilginin en temel özelliklerinden bir tanesi olarak karşımıza çıkan bilimsel nesnellik bilim felsefesi alanı içerisinde sıklıkla tartışılan bir konu olagelmiştir. Bu doğrultuda, bilimsel nesnelliğin temin edilmesine yönelik çeşitli görüşler ileri sürülmektedir. Genel olarak bilimsel nesnellik bilim insanlarının çalışmalarında olguları doğrudan yansıtması ya da bilim insanlarının çalışmalarını tarafsız bir bakış açısıyla tamamlaması olarak anlaşılmaktadır. Bu görüşlerin bilim felsefesi içerisindeki yansımaları sırasıyla olgulara bağlılık olarak nesnellik ve hiçbir yerden bakış olarak nesnellik isimleriyle olmuştur. Bu bakış açısı, kişisel çıkarların (...) ve değerlerin bilimsel çalışmalardan izole edilmesi sayesinde bilimsel nesnelliğin sağlanabileceğini kabul etmektedir. Diğer bir deyişle, bilimler değerlerden bağımsız olduğu takdirde nesnel olabilmektedirler. Bu görüşe karşı olarak, Helen Longino gibi bilim insanları ise değerleri bilimsel nesnelliğin bir gerekliliği olarak görmektedirler. Bu çalışmada, özellikle değerlerin göz ardı edilmesiyle bilimsel nesnelliğin gerçekleştirilmesinin mümkün olamayacağını vurgulan Helen Longino’nun “bağlamsal deneycilik” olarak bilinen görüşlerine yer verilmektedir. Buna göre Longino, bilimsel araştırmanın toplumsal yönlerini göz önünde bulundurarak değerden bağımsız ideali tamamen reddetmektedir. O değer yüklü bir bilimin hem bilgi kuramsal açıdan hem de nesnellik açısından güvenilir olabileceğini düşünmektedir. -/- Scientific objectivity, which is one of the most basic features of scientific activity and scientific knowledge, is a subject that is frequently discussed in the field of philosophy of science. In this direction, various views are put forward to ensure scientific objectivity. In general, scientific objectivity is understood as scientists reflecting the facts as they are in their studies or scientists completing their studies with an impartial point of view. The reflections of these views in the philosophy of science were respectively called objectivity as faithfulness to facts and objectivity as a view from nowhere. This perspective recognizes that scientific objectivity can be achieved by isolating personal interests and values from scientific studies. In other words, sciences can only be objective if they are value-free. Against this view, scientists such as Helen Longino see values as a necessity of scientific objectivity. In this study, Helen Longino's views known as "contextual empiricism" are included. Accordingly, it is emphasized that it is not possible to realize scientific objectivity by ignoring values. Longino completely rejects the value-free ideal, considering the social aspects of scientific research. She thinks that a value-laden science can be reliable both in terms of epistemology and objectivity. (shrink)

In a 1993 paper, I argued that empirical treatments of the epistemologyused by scientists in experimental work are too abstract in practice tocounter relativist efforts to explain the outcome of scientificcontroversies by reference to sociological forces. This was because, atthe rarefied level at which the methodology of scientists is treated byphilosophers, multiple mutually inconsistent instantiations of theprinciples described by philosophers are employed by contestingscientists. These multiple construals change within a scientificcommunity over short time frames, and these different versions ofscientific methodology (...) can determine the outcome of a controversy. Iillustrated with a comparatively detailed analysis of the methodologyused by biologists debating the existence of an entity called thebacterial mesosome between the mid-1950s and the mid-1970s. This 1993piece has drawn several critiques in the philosophical literature. Inthis present piece I respond to these critiques and argue that they failto address the core argument of the original paper, and I reflectfurther on the methodologies of philosophers of science pursuingempirical or `naturalistic' epistemology. (shrink)

Scientists often refer to their experiments, theories, images and instruments as beautiful and report that their scientific work is a source of aesthetic experiences. How do such aesthetic values affect scientific activities, and can aesthetic values play a cognitive role in science? In this chapter, I identify the different levels at which aesthetic values shape scientific products and processes, reflect on how philosophers have justified the cognitive role of such aesthetic values, and draw insights from recent discussions on the aesthetics (...) of scientific practice for the values in science debate. (shrink)

Aesthetic considerations played a substantial and positive role in the development and acceptance of plate tectonics, the modern theory of the earth’s major geological features and the unifying framework of the earth sciences. Here I give an overview of how aesthetics influenced plate tectonics and take a detailed look at a handful of examples from this history where elegance and simplicity tipped the balance in favour of a given hypothesis. I discuss some implications of this case study for extant accounts (...) of aesthetics in science and argue that the positive role aesthetics played can be explained by recent accounts that posit an indirect and contingent link between knowledge and psychological mechanisms underlying aesthetic appreciation. (shrink)

Scientists regularly invoke broadly aesthetic properties like elegance and simplicity when evaluating theories, but why should we expect aesthetic pleasure to signal an epistemic good? I argue that aesthetic judgements in science are best understood as a special case of affective cognition, and that the feelings on which these judgements are based are the upshots of metacognitive monitoring of the quality of our engagement with theory and evidence. Finding a theory beautiful fallibly signals that it fits well with our background (...) knowledge and that it’s neither artificially adjusted to accommodate otherwise disconfirming evidence nor fitted to noise in the data, which makes aesthetic pleasure a good heuristic for theory evaluation. (shrink)

As Nelson Goodman highlighted, there are two main senses of “abstract” that can be found in discussions about abstract art. On the one hand, a representation is abstract if it leaves out certain features of its target. On the other hand, something can be abstract to the extent that it does not represent a concrete subject. The first sense of “abstract” is well-known in philosophy of science. For example, philosophers discuss mathematical models of physical, biological, and economic systems as being (...) abstract in this sense. However, it is the second sense that dominates discussions of abstract art in aesthetics. For example, abstract art was (and is) considered revolutionary precisely for being non-figurative. Through an analysis of artists including Kandinsky, Malevich, and Mondrian, we develop a reading of this second sense, which we call “generative abstraction,” as opposed to “subtractive” abstraction. Generative abstraction is a process in which a new artifact is created which does not represent the initial concrete target system that inspired it (if there was one), where the artifact’s features are explored for their own sake, and where the “language” of the new artifact is in some way more “universal.” Focusing on this sense of abstraction is helpful in revealing the complexity of the process of crafting an abstract artifact, in problematizing the notion that abstraction can always be un-done (or concretized), as well as revealing new ways for abstractions to be epistemically (un)successful. (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)

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)

Theoretical virtues play an important role in the acceptance and belief of theories in science and philosophy. Philosophers have well-developed views on which virtues ought and ought not to influence one’s acceptance and belief. But what do scientists think? This paper presents the results of a quantitative study with scientists from the natural and social sciences and compares their views to those held by philosophers. Some of the more surprising results are: all three groups have a preference order regarding theoretical (...) virtues, making theory choice a much more determinate matter than what has sometimes been suggested; the preference orders are very similar for the three groups; simplicity is viewed as an epistemic virtue particularly by social scientists ; and syntactic parsimony is preferred to ontological parsimony by all three groups. (shrink)

It has been suggested that particle physics has reached the "dawn of the post-naturalness era." I provide an explanation of the current shift in particle physicists' attitude towards naturalness. I argue that the naturalness principle was perceived to be supported by the theories it has inspired. The potential coherence between major beyond the Standard Model (BSM) proposals and the naturalness principle led to an increasing degree of credibility of the principle among particle physicists. The absence of new physics at the (...) Large Hadron Collider (LHC) has undermined the potential coherence and has led to the principle's loss of significance. (shrink)

The history of the philosophy of thought experiments has touched on the work of Kuhn, Popper, Duhem, Mach, Lakatos, and other big names of the 20th century, but so far, almost nothing has been written about Paul Feyerabend. His most influential work was Against Method, 8 chapters of which concern a case study of Galileo with a specific focus on Galileo’s thought experiments. In addition, the later Feyerabend was very interested in what might be called the epistemology of drama, including (...) stories and myths. This paper brings these different aspects of Feyerabend’s work together in an attempt to present what might have been his considered views on scientific thought experiments. I conclude by contrasting Feyerabend’s ideas with two modern currents in the debate surrounding thought experiments: 1) the claim that the epistemology of thought experiments is just the epistemology of deductive or inductive arguments, and 2) the claim that the specifically narrative quality of thought experiments must be taken into account if we want a complete epistemology of thought experiments. (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)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...) But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

Many mathematicians, physicists, and philosophers have suggested that the fact that mathematics—an a priori discipline informed substantially by aesthetic considerations—can be applied to natural science is mysterious. This paper sharpens and responds to a challenge to this effect. I argue that the aesthetic considerations used to evaluate and motivate mathematics are much more closely connected with the physical world than one might presume, and (with reference to case-studies within Galois theory and probabilistic number theory) show that they are correlated with (...) generally recognized theoretical virtues, such as explanatory depth, unifying power, fruitfulness, and importance. (shrink)

Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...) evaluative and developmental practices in scientific theory selection as genuinely aesthetic, enlarging the scope of the goals of science. (shrink)

There are at least twelve major virtues of good theories: evidential accuracy, causal adequacy, explanatory depth, internal consistency, internal coherence, universal coherence, beauty, simplicity, unification, durability, fruitfulness, and applicability. These virtues are best classified into four classes: evidential, coherential, aesthetic, and diachronic. Each virtue class contains at least three virtues that sequentially follow a repeating pattern of progressive disclosure and expansion. Systematizing the theoretical virtues in this manner clarifies each virtue and suggests how they might have a coordinated and cumulative (...) role in theory formation and evaluation across the disciplines—with allowance for discipline specific modification. An informal and flexible logic of theory choice is in the making here. Evidential accuracy, according to my systematization, is not a largely isolated trait of good theories, as some have made it out to be. Rather, it bears multifaceted relationships, constituting significant epistemic entanglements, with other theoretical virtues. (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)

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)

Can aesthetic judgements legitimately be linked to the success of scientific theories? I suggest that a satisfactory answer to this question should account for the persistent attraction that aesthetic considerations seem to have for scientists, while also explaining the apparent instability of the link between the beauty of a theory and its truth. I argue that two widespread tendencies in the literature, Pythagorean and subjectivist approaches, have difficulties meeting this twofold challenge. I propose a Kantian conception of aesthetic judgements as (...) second‐order considerations, related to our own intellectual capacities for making sense of the world, and argue that it fares better. (shrink)

SummaryThe metaphysical commitment to the circle as the essential element in the analysis of celestial motion has long been recognized as the hallmark of classical astronomy. What has not always been clear, however, is that the circle continued to serve Kepler as a central element in his astronomy after the discovery of the elliptical orbit of Mars. Moreover, the circle also functioned for Kepler in geometry to select the basic polygons, in music to select the basic harmonies, and in astrology (...) to select the basic aspects. His basic set of polygons consisted of those figures that could be constructed using only a compass and a rule; the set of fundamental harmonies consisted of the consonances of the just intonation; and the traditional set of astrological aspects were enlarged by Kepler to include three new aspects in order to make the astrological set consistent with geometry and music. And as the circle served to unify these three areas, so also did it serve to supply the fundamental answers to astronomical problems well after the discovery of his new astronomy—a topic to be discussed in Part II of this paper. (shrink)

The principle of economy favours the theory which gives the most accurate predictions; of two equally accurate theories, economy favours the one which incorporates least metaphysics. The intention is to show that were metaphysical commitments of theories openly acknowledged and simplicity and other virtues generally accepted as judges in theory choice, the progress rate of science would likely become more optimal.

This essay explores the aesthetic sensibilities of the French physiologist Claude Bernard . In particular, it analyzes the Cahier Rouge , Bernard's acclaimed laboratory notebook. In this notebook, Bernard articulates the range of his experience as an experimental physiologist, juxtaposing without differentiation details of laboratory procedure and more personal queries, doubts, and reflections on experimentation, life, and art. Bernard's insights, it is argued, offer an aesthetic and phenomenological template for considering experimentation. His physiological point of view ranges from his own (...) bodily aesthesis or sensory perception, through personal reflections on scientific discovery as an artistic process, to a broader metaphysical conception of life as an artistic creation. Such an aesthetic approach to physiology enables Bernard to reconcile his empirical methodology and his romantic idealism; it offers the history of laboratory science a framework for considering the individual, bodily, and emotional labor inherent in physiological experimentation. (shrink)

Metaphysical theories are beautiful. At the end of this book, Jiri Benovsky defends the view that metaphysical theories possess aesthetic properties and that these play a crucial role when it comes to theory evaluation and theory choice.Before we get there, the philosophical path the author proposes to follow starts with three discussions of metaphysical equivalence. Benovsky argues that there are cases of metaphysical equivalence, cases of partial metaphysical equivalence, as well as interesting cases of theories that are not equivalent. Thus, (...) claims of metaphysical equivalence can only be raised locally. The slogan is: the best way to do meta-metaphysics is to do first-level metaphysics.To do this work, Benovsky focuses on the nature of primitives and on the role they play in each of the theories involved. He emphasizes the utmost importance of primitives in the construction of metaphysical theories and in the subsequent evaluation of them.He then raises the simple but complicated question: how to make a choice between competing metaphysical theories? If two theories are equivalent, then perhaps we do not need to make a choice. But what about all the other cases of non-equivalent "equally good" theories? Benovsky uses some of the theories discussed in the first part of the book as examples and examines some traditional meta-theoretical criteria for theory choice (various kinds of simplicity, compatibility with physics, compatibility with intuitions, explanatory power, internal consistency,...) only to show that they do not allow us to make a choice.But if the standard meta-theoretical criteria cannot help us in deciding between competing non-equivalent metaphysical theories, how then shall we make that choice? This is where Benovsky argues that metaphysical theories possess aesthetic properties – grounded in non-aesthetic properties – and that these play a crucial role in theory choice and evaluation. This view, as well as all the meta-metaphysical considerations discussed throughout the book, then naturally lead the author to a form of anti-realism, and at the end of the journey he offers reasons to think better of the kind of anti-realist view he proposes to embrace. www.jiribenovsky.org. (shrink)

This paper examines the thoughts and early career of the astrophysicist and cosmologist E. A. Milne. Although Milne only turned to cosmology in 1932, many of the ideas that characterised his heterodox system of world physics can be traced back to his works from the 1920s. Contrary to what has been stated in the literature, we argue that Milne was familiar with and interested in cosmology even before 1932. The relationship between mathematics and physics, an important topic in Milne's cosmophysics, (...) was the subject of an unpublished paper he gave in 1922. We place the paper in its historical context and comment on its relevance for Milne's later work. An annotated transcript of the address is included as an accompanying paper under the title 'The Relations of Mathematics to Science'. (shrink)

A persistent puzzle for philosophers of science is the well-documented appeal made by scientists to their aesthetic emotions in the course of scientific research. Emotions are usually viewed as irremediably subjective, and thus of no epistemological interest. Yet, by denying an epistemic role for scientists’ emotional dispositions, philosophers find themselves in the awkward position of ignoring phenomena which scientists themselves often insist are of importance. This paper suggests a possible solution to this puzzle by challenging the wholesale identification of emotion (...) with subjectivity. The proposed method is a naturalistic and externalist one, calling for empirical investigation into the intersubjective processes by which scientists’ emotional dispositions become refined and attuned to specific objects of attention. The proposal is developed through a critical discussion of Michael Polanyi’s theory of scientific passions, as well as plant geneticist Barbara McClintock’s celebrated “feeling for the organism.”. (shrink)

The idea of elegance in science is not necessarily a familiar one, but it is an important one. The use of the term is perhaps most clear-cut in mathematics - the elegant proof - and this is where Ian Glynn begins his exploration. Scientists often share a sense of admiration and excitement on hearing of an elegant solution to a problem, an elegant theory, or an elegant experiment. The idea of elegance may seem strange in a field of endeavour that (...) prides itself in its objectivity, but only if science is regarded as a dull, dry activity of counting and measuring. It is, of course, far more than that, and elegance is a fundamental aspect of the beauty and imagination involved in scientific activity. Ian Glynn, a distinguished scientist, selects historical examples from a range of sciences to draw out the principles of science, including Kepler's Laws, the experiments that demonstrated the nature of heat, and the action of nerves, and of course the several extraordinary episodes that led to Watson and Crick's discovery of the structure of DNA. With a highly readable selection of inspiring episodes highlighting the role of beauty and simplicity in the sciences, the book also relates to important philosophical issues of inference, and Glynn ends by warning us not to rely on beauty and simplicity alone - even the most elegant explanation can be wrong. (shrink)

Three separate articles make up the chapters of this dissertation. They were written with different aims and audiences in mind, but each deals in some way with one or more "principles" that have been invoked in argumentation and explanation in the physical sciences. The principles of concern are propositions which have an "aesthetic" or "foundational" or "philosophical" character and which are generally believed to be widely applicable or particularly powerful--for example, the Principle of Plenitude, the Principle of Mathematical Beauty, Occam's (...) Razor, the Cosmological Principle, and the Copernican Principle. ;Chapter 1 provides an overview of the nature and uses of principles in scientific reasoning and examines in some detail the use of the Principle of Plenitude in the introduction of "tachyons" into theoretical physics during the 1960s. Chapter 2 is a short biography of P. A. M. Dirac , one of the founders of quantum mechanics, who believed that the Principle of Mathematical Beauty should serve as physicists' guide to truth. Chapter 3 traces the history of the idea of faster-than-light particles in physics since the late 1800s; this idea matured with the rise of the subfield of tachyon physics in the 1960s, and physicists appealed to the Principle of Plenitude to argue for the existence of the particles, which are still only hypothetical. ;According to the thesis developed in these chapters, the epistemological status of principles has evolved over the history of science. While they were once hallowed as a priori truths, in modern science they have increasingly been employed critically, in light of the results of scientific inquiry. That is, science has moved toward making principles testable, subject to rejection or revision, on a par with other scientific propositions. (shrink)

in spite of koyré's conclusions, there are sufficient reasons to claim that galileo, and with him the beginnings of classical mechanics in early modern times, was closely related to practical mechanics. it is, however, not completely clear how, and to what extent, practitioners and engineers could have had a part in shaping the modern sciences. by comparing the beginnings of modern dynamics with the beginnings of statics in antiquity, and in particular with archimedes — whose rediscovery in the sixteenth century (...) was of great consequence — i will focus on the question of which devices played a comparable role in dynamics to that of the lever and balance in statics. i will also examine where these devices came from. in this way, i will show that the entire world of mechanics of that time — “high” and “low,” practical and theoretical — was of significance for shaping classical mechanics and that a specific relationship between art and science was and is constitutive for modern sciences. (shrink)

This collection of essays originated from an interdisciplinary conference held at the University of Pittsburgh. Contents: Aesthetic Factors in Natural Science, by Nicholas Rescher; Three Arguments against Simplicity, by Kristin Shrader-Frechette; Simplicity and the Aesthetics of Explanation, by Joseph C. Pitt; Simplicity as an Epistemic Virtue: The View from the Neuronal Level, by Paul M. Churchland; Taming a Regulative Principle: From Kant to Schlick, by Matti Sintonen; Simplicity and Distinctness: The Limits of Referential Semantics, by Ulrich Majer; The Aesthetics of (...) Theory Testing: Economy and Simplicity, by Jane Duran; Simplicity in Evolutionary Explanations, by David B. Resnik; and The Role of Simplicity in Geology, by illiam R. Brice. Index. Co-published with Center for the Philosophy of Science. (shrink)

The Poetic Structure of the World is a major reconsideration of a crucial turningpoint in Western thought and culture: the heliocentric revolution of Copernicus and Kepler. FernandHallyn treats the work of these two figures not simply in terms of the history of science orastronomy, but as events embedded in a wider field of images, symbols, texts, and practices. Thesenew representations of the universe, he insists, cannot be explained by recourse to explanations of"genius" or "intuition."Instead, Hallyn investigates the problem of how (...) new scientific hypothesesare actually formed and the complex way in which certain facts and not others are selected tosupport a particular theory. He contends that the scientific imagination is not fundamentallydifferent from a mythic or poetic imagination and that the work of Copernicus and Kepler must beexamined on the level of rhetorical structure. Hallyn shows the sun-centered universe to beinseparable from the aesthetic, epistemological, theological, and social imperatives of bothneoplatonism and mannerism in the sixteenth centuryFernand Hallyn is a Professor in the Departmentof French Literature at the University of Ghent. Distributed for Zone Books. (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)

I first provide an introduction to a neglected topic in contemporary aesthetics: intellectual beauty. I then review James McAllister’s critique of autonomism and reductionism regarding the relation between empirical and aesthetic criteria in scientific theory evaluation. Finally, I critique McAllister’s “aesthetic induction” and defend an alternative model that emphasizes the holistic coherence of aesthetic and other theoretical virtues in scientific theorizing.

Participants in the debate about whether simplicity is a guide to truth or merely pragmatically useful typically wrangle over two problems: (1) how to weigh simplicity against other virtues like strength and fitness and (2) whether there is a unique measure for simplicity that straps it to truth. I would like to put forth a third problem: (3) Even if problems (1) and (2) could be solved, it is far from clear whether the simplest theory out of an available class (...) of competitors would always be the one closest to the truth. (shrink)

The received view of an ad hochypothesis is that it accounts for only the observation(s) it was designed to account for, and so non-ad hocness is generally held to be necessary or important for an introduced hypothesis or modification to a theory. Attempts by Popper and several others to convincingly explicate this view, however, prove to be unsuccessful or of doubtful value, and familiar and firmer criteria for evaluating the hypotheses or modified theories so classified are characteristically available. These points (...) are obscured largely because the received view fails to adequately separate psychology from methodology or to recognise ambiguities in the use of ''ad hoc''. (shrink)