Since the publication of his seminal monograph "The scientific image", Bas van Fraassen is a key figure in philosophy of science. In this book, other philosophers with various outlooks critically discuss his work on theories, empiricism and philosophical stances. The book starts with a new article by van Fraassen on his preferred account of theories, the so-called semantic view. This account is now 50 years old, and van Fraassen takes this anniversary as an opportunity to review the account, its history (...) and the philosophical discussion about it. In the main part of the book, Nancy Cartwright, Finnur Dellsén, Matthias Egg, Steven French, Michael Friedman, Milena Ivanova and Michela Massimi discuss van Fraassen's contributions to philosophy. Three chapters focus on his engagement with realism (French, Friedman, Ivanova). Others study his voluntarism (Cartwright) and his view on representation (Massimi). Finally, there are contributions about his elaboration of empiricism (Dellsén) and his proposal to consider philosophical positions as stances (Egg). The volume includes a laudatio written by Steven French and finishes with a reply by van Fraassen to his critics. (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)

The early Schlick developed an evolutionary biological account of play. He contrasted play with work. Where work encompasses all activity that is undertaken for the sake of some practical outcome, play renders what was previously a mere means into an end enjoyable in itself. Schlick thus distinguished between aesthetic, religious, scientific, and ethical game types. This paper shows that this typology underlies his later attempts to naturalize these fields, and allows us to clarify the relation between object-games and their description (...) within the scientific game. Schlick's demarcation between aesthetic and scientific games arguably prefigures the Vienna Circle's anti-metaphysical stance. (shrink)

Can experiments be appreciated for their aesthetic value and what would this appreciation be focused on? This chapter identifies a number of categories that are the focus on our aesthetic appreciation of experiments and shows how these categories are rather stable across different experimental traditions. It is argued that we can find aesthetic value in the phenomena unveiled in the experimental set up, the instruments and tolls used, the results that are obtained, the process of conceptualisation of the experimental set (...) up, the experimental design and the very performance of the experiment. The chapter draws a distinction between immediately accessible to the senses beauty and intellectual beauty and argues that the ultimate source of aesthetic value is to be found in the relationship between design and significance. (shrink)

In response to the mental health crisis in science, and amid concerns about the detrimental effects of the COVID-19 pandemic on scientists, this study seeks to identify the role of a heretofore under-researched factor for flourishing and eudaimonia: aesthetic experiences in scientific work. The main research question that this study addresses is: To what extent is the frequency of encountering aesthetics in terms of beauty, awe, and wonder in scientific work associated with greater well-being among scientists? Based on a large-scale (...) and representative international survey of scientists in four countries, this study employs sets of nested regressions to model the associations of aesthetic experiences with flourishing while controlling for demographic factors and negative workplace and life circumstances such as burnout, job/publication pressure, mistreatment, COVID-19 impacts, other stressful life events, serious psychological distress, and chronic health conditions. The results show that the frequency of aesthetic experiences in scientific work in the disciplines of biology and physics has a very large and statistically significant association with flourishing and eudaimonia that remains robust even when controlling for demographic factors and negative workplace and life circumstances, including COVID-19 impacts. Aesthetic experiences in scientific work are even as strongly associated with flourishing as the presence of serious psychological distress and are most strongly associated with the flourishing domain of meaning in life, thus pointing to a link with eudaimonic well-being. In line with neurophysiological evidence and positive psychological models of flow, self-transcendence, and intrinsic motivation, aesthetics are a key source of flourishing for scientists in the disciplines of biology and physics. While future research needs to test the causal mechanism, the strength of the findings could encourage leaders of scientific labs and research organizations generally to remove obstacles to experiencing the aesthetic dimensions of science. Fostering cultures in which the aesthetic experiences that are intrinsic to scientific practice are fully appreciated might potentially protect or boost flourishing by reducing the impacts of burnout, job/publication pressure, and mistreatment-related experiences in science. (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)

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)

The Minimalist Program in generative linguistics is predicated on the idea that simplicity is a defining property of the human language faculty, on the one hand; on the other, a central aim of linguistic theorising. Worryingly, however, justifications for either claim are hard to come by in the literature. We sketch a proposal that would allow for both shortcomings to be addressed, and that furthermore honours the program’s declared commitment to naturalism. We begin by teasing apart and clarifying the different (...) conceptions of simplicity underlying generative inquiry, in both ontological and theoretical capacities. We then trace a path towards a more robust justification for each type of simplicity principle, drawing on recent work in cognitive science and in philosophy of science, respectively. The resulting proposal hinges on the idea that simplicity is an evolved, virtuous cognitive bias—one that is a condition of our scientific understanding and, ultimately, of successful scientific practice. Finally, we make a case for why minimalists should take this proposal seriously, on the one hand; and for why generative linguistics would make for an interesting case study for philosophy of science, on the other. (shrink)

Kant often seems to suggest that a cognition – whether an everyday cognition or a scientific cognition – cannot be beautiful. In the Critique of Judgment and the Lectures on Logic, he writes: ‘a science which, as such, is supposed to be beautiful, is absurd.’ (CJ 184 (5:305)) ‘The expression "beautiful cognition" is not fitting at all’ (LL 446 (24:708)). These claims are usually understood rather straightforwardly. On the one hand, cognition cannot be beautiful since on Kant’s account, it is (...) all about concepts whilst beauty is defined by its non-conceptual nature. On the other hand, beauty cannot contribute to cognition since the former is grounded on subjective feelings whilst cognition is all about objective knowledge. However, I will argue that Kant’s view of the relationship between cognition and beauty is not as straightforward as it may seem, and that both of these claims are in fact false. As I will show, cognition can be beautiful, and the feeling of beauty is cognitively valuable. Yet it is not because beauty is a sign of the truthfulness of a theory. Nor is it because the process that gives rise to the feeling of beauty, the free play, furthers scientific progress. Rather, it is because the experience of beauty stimulates our cognitive powers and thereby enhances our cognitive activity. On this basis, contrary to what is usually thought, cognition can, and in fact should, be beautiful for Kant. (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)

This article explores the aesthetic dimensions of scientific experimentation, addressing specifically how aesthetic features enter the construction, evaluation and reception of an experiment. I highlight the relationship between experiments and artistic acts in the early years of the Royal Society where experiments do not serve only epistemic aims but also aim to generate feelings of awe and pleasure. I turn to analysing which aspects of experiments are appreciated aesthetically, identifying several contenders, from the ability of an experiment to uncover nature’s (...) beauty, to encapsulating original designs and human creativity. Following this analysis, I focus on the notion of beauty: what makes an experiment beautiful? Several common qualities are explored, from the simplicity and economy of the experiment, to the significance of the experimental results. (shrink)

Recent attempts at defining mathematical beauty fall roughly into two schools of thought. One takes its starting point in the subjective experience of the mathematician and characterises mathematical beauty in cognitive terms. The other seeks to reduce beauty to objective notions such as truth, symmetry, or simplicity. This second approach is popular among analytic philosophers, who are committed to seeing mathematics and science as prototypically rational enterprises. I criticise this stance on the grounds that this commitment makes its supporters approach (...) beauty in mathematics not with a genuine desire to sympathetically understand it, but with the preconceived goal of explaining it away and playing it down. (shrink)