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)

This paper examines the negative response to Dalton’s atomic symbols by situating them in the context of the normative eighteenth-century representational system of affinity tables. Aesthetic analysis of the affinity tables reveals them as schema embedded with a potent functionalist empiricism. In contrast, the aesthetics of Dalton's symbols is associated with hypothetico-deductivism and alchemical iconicism.

The examples and concepts that Shoemaker cites are rather heterogeneous. Some distinctions need to be drawn. An optimality thesis involves not just an ordering of options, but a value judgment about them. So let us begin by distinguishing minimality from optimality. And the concept of minimality can play a variety of roles, among which I distinguish between extremum descriptions, statements hypothesizing an optimizing process, and methodological recommendations. Finally, I consider how the three categories relate to Shoemaker’s question that “Who is (...) optimizing: the scientist or nature?” . (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.

This paper examines the strengths and weaknesses of one of science's most pervasive and flexible metaprinciples;optimalityis used to explain utility maximization in economics, least effort principles in physics, entropy in chemistry, and survival of the fittest in biology. Fermat's principle of least time involves both teleological and causal considerations, two distinct modes of explanation resting on poorly understood psychological primitives. The rationality heuristic in economics provides an example from social science of the potential biases arising from the extreme flexibility of (...) optimality considerations, including selective search for confirming vidence, ex post rationalization, and the confusion of prediction with explanation. Commentators are asked to reflect on the extent to which optimality is an organizing principle of nature, a set of relatively unconnected techniques of science, a normative principle for rational choice and social organization, a metaphysical way of looking at the world, or something else still. (shrink)

Driven by an impetus to standardize, numerous checklists have been devised to address quality in qualitative research, but these standards and the mindset driving them offer no language with which to speak about taste, or the aesthetic sensibilities that play such a key role in evaluating the goodness of any object. In this article, quality appraisal in qualitative research is considered in the context of taste, that is, in the discernment involved in judging the value of research and in the (...) recognition of the key role reviewer preferences, sensibilities and membership in one or more taste communities play in these judgements. The evaluation of a study is accomplished by evaluating one or more reports from that study, and such reports may be conceived as art forms amenable to the same criteria for appraisal as poems or paintings. Taste implies judgements about the quality of objects and a person's ability to sift through and select from a store of knowledge that knowledge appropriate to judge its value. What binds a community of practitioners (here reviewers of qualitative studies) together is taste‐making, or the constant refinements of judgements concerning what constitutes good and bad practice. (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)

This article picks up from William James's pragmatism and metaphysics of experience, as expressed in his “radical empiricism,” and further develops this Jamesian pragmatist approach to uncertainty and ignorance by connecting it to phenomenological thought. The Jamesian pragmatist approach avoids both a “crude naturalism” and an “absolutist rationalism,” and allows for identification of intimations of the sacred in both scientific and religious practices—which all, in their respective ways, try to make sense of a complex world. Analogous to religious practices, emotion (...) and the metaphysics of experience play a central role in science, especially the emotion of wonder. Engaging in scientific or religious practices may create opportunities for individuals to realize that they are co-creators of the world in partnership with God, in full awareness of uncertainty and ignorance and filled with the emotion of wonder. (shrink)

A comment on Paul Schoemaker's target article in Behavioral and Brain Sciences, 14 (1991), p. 205-215, "The Quest for Optimality: A Positive Heuristic of Science?" (https://doi.org/10.1017/S0140525X00066140). This comment argues that the optimizing model of decision leads to an infinite regress, once internal costs of decision (i.e., information and computation costs) are duly taken into account.

Discussions of aesthetic reasons and normativity are becoming increasingly popular. This piece outlines six basic questions about aesthetic reasons, normativity, and value and discusses the space of possible answers to these questions. I divide the terrain into two groups of three questions each. First are questions about the shape of aesthetic reasons: what they favour, how strong they are, and where they come from. Second are relational questions about how aesthetic reasons fit into the wider normative landscape: whether they are (...) distinctive, what their normative status is, and how they interact with each other and with non-aesthetic reasons. This piece aims to provide a taxonomy to clarify and organise the burgeoning literature and to make a few concrete suggestions for avenues of future research. (shrink)

In this paper, we consider various ways in which aesthetic value bears on, if not serves as evidence for, the truth of independent statements in set theory.... the aesthetic issue, which in practice will also for me be the decisive factor—John von Neumann, letter to Carnap, 1931For me, it is the aesthetics which may very well be the final arbiter—P. J. Cohen, 2002.

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)

Fine-tuning arguments are a frequent find in the literature on quantum field theory. They are based on naturalness—an aesthetic criterion that was given a precise definition in the debates on the Higgs mechanism. We follow the history of such definitions and of their application at the scale of electroweak symmetry breaking. They give rise to a special interpretation of probability, which we call Gedankenfrequency. Finally, we show that the argument from naturalness has been extended to comparing different models of the (...) physics beyond the Standard Model and that naturalness in this case can at best be understood a socio-historic heuristic. (shrink)

David Marr's theory of vision has been a rich source of inspiration, fascination and confusion. I will suggest that some of this confusion can be traced to discrepancies between the way Marr developed his theory in practice and the way he suggested such a theory ought to be developed in his explicit metatheoretical remarks. I will address claims that Marr's theory may be seen as an optimizing theory, along with the attendant suggestion that optimizing assumptions may be inappropriate for cognitive (...) mechanisms just as anti-adaptationists have argued they are inappropriate for other physiological mechanisms. I will discuss the nature of optimizing assumptions and theories. Considering various difficulties in identifying and assessing optimizing assumptions, I will suggest that Marr's theory is not purely an optimizing theory and that reaction to Marr on this issue prompts interesting considerations for the development of inter-disciplinary constraints in the cognitive and brain sciences. (shrink)

Although the influence of affect on creativity has received some theoretical and empirical attention, the role of affect as a consequence of creative problem solving has been neglected. This study is the one of the first to examine empirically the affect that results from creative problem solving. In a 2 (group) × 3 (time period) × 2 (task) factorial design, 122 art and science students were randomly assigned to complete an art or science task and to report on the kind (...) and intensity of affect before, during, and after creative problem solving. It was predicted that art and science students would report different levels of affect only after the insight, not before or during, and that the effects of task, not just group, would contribute to affective variability between art and science students. Science students reported similar levels of (positive) affective intensity before and during creative insight as art students. It was only after the insight that art students reported more intense affective experiences than science students. Task differences accounted for a significant amount of variance in affective intensities, but primarily for art-oriented subjects. These findings suggest that viewing affect as a dependent variable of cognition, rather than primarily as an independent variable, is a direction that would benefit the field of empirical work on cognition and emotion. Current cognitive theories of emotion offer much potential in understanding the affective consequences of creative problem solving. (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)

An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...) that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

In this paper, I discuss the intrinsic value of truth from the perspective of the emotion studies in virtue epistemology. The strategy is the one that looks at epistemic emotions as driving forces towards truth as the most valuable epistemic good. But in doing so, a puzzle arises: how can the value of truth be intrinsic and instrumental? My answer lies in the difference established by Duncan Pritchard between epistemic value and the value of the epistemic applied to the case (...) of subjective motivations to knowing. I argue that the value of truth is intrinsic as epistemic value and that this is not only compatible with the idea that truth can have different kinds of instrumental values but also that the subjective value of truth, disclosed by epistemic emotions, can make the value of truth stronger if regulated within patterns of virtuous enquiry. (shrink)