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)

It is a common thought that mathematics can be not only true but also beautiful, and many of the greatest mathematicians have attached central importance to the aesthetic merit of their theorems, proofs and theories. But how, exactly, should we conceive of the character of beauty in mathematics? In this paper I suggest that Kant's philosophy provides the resources for a compelling answer to this question. Focusing on §62 of the ‘Critique of Aesthetic Judgment’, I argue against the common view (...) that Kant's aesthetics leaves no room for beauty in mathematics. More specifically, I show that on the Kantian account beauty in mathematics is a non-conceptual response felt in light of our own creative activities involved in the process of mathematical reasoning. The Kantian proposal I thus develop provides a promising alternative to Platonist accounts of beauty widespread among mathematicians. While on the Platonist conception the experience of mathematical beauty consists in an intellectual insight into the fundamental structures of the universe, according to the Kantian proposal the experience of beauty in mathematics is grounded in our felt awareness of the imaginative processes that lead to mathematical knowledge. The Kantian account I develop thus offers to elucidate the connection between aesthetic reflection, creative imagination and mathematical cognition. (shrink)

The history and philosophy of science are destined to play a fundamental role in an epoch marked by a major scientific revolution. This ongoing revolution, principally affecting mathematics and physics, entails a profound upheaval of our conception of space, space–time, and, consequently, of natural laws themselves. Briefly, this revolution can be summarized by the following two trends: by the search for a unified theory of the four fundamental forces of nature, which are known, as of now, as gravity, electromagnetism, and (...) strong and weak nuclear forces; by the search for new mathematical concepts capable of elucidating and therefore explaining such a relationship. In fact, the first search is essentially dependent on the second; that is to say, that in order for a new theory of physics to come to light, the development of a deeper geometric theory capable of explaining the structure of space–time on a quantum scale appears to be necessary. On careful consideration, we notice that both of these developments converge in the direction of a unitary and fundamental tendency of modern science—which is the geometrization of theoretical physics and of natural sciences. This new emergent situation carries within it a profound conceptual change, affecting the way in which relations are conceived of, first and foremost, between mathematics and physics. This new paradigm can be summed up by the intimately interdependent points: the immense variety of physical phenomena and of natural forms follows from the equally infinite variety of geometric and topological objects that can be made out in space and from which space is made up; the second point, which ensues from the former one and which is of great historical and epistemological significance, is that mathematics is involved in rather than applied to phenomena. In other words, phenomena are effects that emerge from the geometrical structure of space–time. There is no doubt that this new conception of the relationship between the universe of mathematical ideas and objects and the world of natural phenomena is the true scientific revolution of our century, of great conceptual importance, and consequently, capable of changing our view of science and of nature at one and the same time. It is all at once of a scientific, philosophical and aesthetic order. (shrink)

ABSTRACT This paper explores the role of aesthetic judgements in mathematics by focussing on the relationship between the epistemic and aesthetic criteria employed in such judgements, and on the nature of the psychological experiences underpinning them. I claim that aesthetic judgements in mathematics are plausibly understood as expressions of what I will call ‘aesthetic-epistemic feelings’ that serve a genuine cognitive and epistemic function. I will then propose a naturalistic account of these feelings in terms of sub-personal processes of representing and (...) assessing the relation between cognitive processes and certain properties of the stimuli at which they are directed. (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)

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)