Contemporary forms of Kantian constitutivism generally begin with a conception of agency on which the constitutive aim of agency is some form of autonomy or self-unification. This chapter argues for a re-orientation of the Kantian constitutivist project towards views that begin with a conception of rationality on which both theoretical and practical rationality aim at forms of understanding. In a slogan, then, understanding-first as opposed to autonomy-first constitutivism. Such a view gives the constitutivist new resources for explaining many classes of (...) reasons, while also offering a new way of understanding the unity of theoretical and practical reason. The chapter concludes by arguing that the resulting view is best understood, not so much as an alternative to autonomy-first constitutivism, but as a complement to it. (shrink)

This is the introduction to the Routledge Companion to Thought Experiments.

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)

In his 1836 lectures to the Royal Institute, the great landscape painter John Constable stated that ‘Painting is a science, and should be pursued as an inquiry into the laws of nature.’ Landscape, he went on to say, should ‘be considered a branch of natural philosophy, of which pictures are but the experiments.’1Constable makes two claims in this striking passage. The first is that painting is a form of inquiry. This is, by itself, a bold claim, but Constable goes on (...) to state that painters and scientists inquire in the same way. As controversial as these views are, both of them have been sympathetically entertained in recent years by several philosophers. In particular, Nelson Goodman and Catherine Elgin have maintained that painting, and the other arts, are forms of inquiry, and that they are akin to the sciences in important respects.2I think, however, that Constable is only half right. Although I agree that the arts are forms of inquiry, I will argue that the arts and the sciences employ radically different methods. That the arts and the sciences are very different forms of inquiry might seem to be a point so obvious as to be scarcely worth making. We can, however, appreciate more clearly how the arts can contribute to our knowledge by contrasting its methods with those of science. (shrink)

This paper is an attempt to analyse the concept of literary autonomy, to explore its various manifestations in previous and current theories of literary studies and literary aesthetics, and to fit it into a broad outlook of literature's specificity and uniqueness. It defends the idea of literature's separate identity, however, not at the expense of breaking free of the concept of meaning in the strict sense, seeking special literary value in the independence of aesthetic value from other values, or in (...) the claim that literature has no purpose outside of itself, and then argues that such position need not be confounded with reductionism. (shrink)

I claim that one way thought experiments contribute to scientific progress is by increasing scientific understanding. Understanding does not have a currently accepted characterization in the philosophical literature, but I argue that we already have ways to test for it. For instance, current pedagogical practice often requires that students demonstrate being in either or both of the following two states: 1) Having grasped the meaning of some relevant theory, concept, law or model, 2) Being able to apply that theory, concept, (...) law or model fruitfully to new instances. Three thought experiments are presented which have been important historically in helping us pass these tests, and two others that cause us to fail. Then I use this operationalization of understanding to clarify the relationships between scientific thought experiments, the understanding they produce, and the progress they enable. I conclude that while no specific instance of understanding (thus conceived) is necessary for scientific progress, understanding in general is. (shrink)

The aim of this article is to provide a plausible conceptual model of a specific use of images described as substitution in recent art-historical literature. I bring to light the largely implicit shared commitments of the art historians’ discussion of substitution, each working as they do in a different idiom, and I draw consequences from these commitments for the concept of substitution by image—the major being the distinction between nonportraying substitution and substitution by portrayal. I then develop an argument that (...) substitution by image in the desired, nonportraying sense needs to be thought of in terms of a figurative representation of an image’s subject as a generic object, what I will call its figurative instantiation. (shrink)

We argue that although art has no systematic conventions for conveying knowledge in the way science does, the arts often play an important epistemic role in the production and understanding of scientific knowledge. We argue for what we call weak scientific cognitivism, the view that the production and distribution of scientific knowledge can benefit from engagement with art. We present a range of cases that illustrate a variety of epistemic functions of art relevant to scientific practice, and respond to influential (...) objections from anti-cognitivists that purport to show that art has no epistemic value. (shrink)

In this essay, I develop and defend a virtue-theoretic conception of rationality as a capacity whose function is understanding, as opposed to mere truth or correctness. I focus on two main potential advantages of this view. First, its ability to explain the rationality of forms of explanatory reasoning, and second, its ability to offer a more unified account of theoretical and practical rationality.

This essay develops an interpretation of Kant’s conception of the faculty of reason as the capacity for what he calls "comprehension" (Begreifen). In doing so, it first discusses Kant's characterizations of reason in relation to what he describes as the two highest grades of cognition—insight and comprehension. Then it discusses how the resulting conception of reason relates to more familiar characterizations as the faculty for inference and the faculty of principles. In doing so, it focuses on how the idea of (...) reason as aiming at comprehension expresses the modesty about reason that is essential to Kant’s critical philosophy. It concludes by showing how this grounds an elegant account of the unity of theoretical and practical reason—one that does justice both to the "primacy" that Kant assigns to practical reason and the fact that this "primacy" is grounded in a more basic unity. (shrink)

Attention to scientific practice offers a novel response to philosophical queries about how conceptual understanding is empirically accountable. The locus of the issue is thereby shifted, from perceptual experience to experimental and fieldwork interactions. More important, conceptual articulation is shown to be not merely ?spontaneous? and intralinguistic, but instead involves a establishing a systematic domain of experimental operations. The importance of experimental practice for conceptual understanding is especially clearly illustrated by cases in which entire domains of scientific investigation were first (...) made accessible to articulated conceptual understanding. We thereby see more clearly how experimental systems themselves, and not merely the theories and models they make possible, have an intentional directedness and ?representational? import. (shrink)

Without doubt, there is a widespread usage of visualisations in science. However, what exactly the _epistemic status_ of these visual representations in science may be remains an open question. In the following, I will argue that at least some scientific visualisations are indispensible for our cognitive processes. My thesis will be that, with regard to the activity of _learning_, visual representations are of relevance in the sense of contributing to the aim of _scientific_ _understanding_. Taking into account that understanding can (...) be regarded as an epistemic desideratum in its own right, I will argue that, at least in some instances, no understanding can be achieved without the aid of visualisations. Consequently, they are of crucial importance in this process. Moreover, to support this thesis we will make use of some findings in educational psychology. (shrink)

In True enough,, Elgin argues against veritism, which is the view that truth is the paramount epistemic objective. Elgin’s argument against veritism proceeds from considering the role that models, idealizations, and thought experiments play in science to the conclusion that veritism is unacceptable. In this commentary, I argue that Elgin’s argument fails as an argument against veritism. I sketch a refutation by logical analogy of Elgin’s argument. Just as one can aim at gold medals and still find approximations to gold, (...) such as silver and bronze medals, to be acceptable and honest achievements in competitive sports, one can aim at full truths as the paramount epistemic objective and still find approximations to truth, such as models and idealizations, to be acceptable and honest achievements in scientific inquiry. (shrink)

This topical collection of Synthese is in honor of Catherine Z. Elgin. The idea for it arose in the context of an international book symposium dedicated to Elgin's latest book, organized by Katherine Dormandy, Christoph Jäger, and myself, which took place at the University of Innsbruck in March 2018. The topical collection comprises fourteen papers addressing a broad array of issues related to True Enough and to Elgin’s work more generally, plus a contribution by Elgin with detailed comments and replies. (...) True Enough is an extraordinarily rich, wide-ranging book; it reflects both the breadth and sharpness of Elgin’s philosophical gaze and exemplifies the impressive variety of her philosophical interests. In this introduction, I give an overview of the topical collection’s content, zooming in on the aspects of Elgin’s work which captured the contributors’ attention. My discussion will not remotely do justice to the complexity of Elgin’s system, but I hope that it will help the reader navigate the topical collection and appreciate how the fourteen papers relate to Elgin’s overall project. (shrink)

Goodman and Elgin have recommended a reconception of philosophy. A central part of their recommendation is to replace knowledge by understanding. According to Elgin, some important internalist and externalist theories of knowledge favor a sort of undesirable cognitive minimalism. Against Elgin I try to show how the challenge of cognitive minimalism can be met. Goodman and Elgin claim that defeat and confusion are built into the concept of knowledge. They demand either its revision or its replacement or its supplement. I (...) show that these are three very different options. While agreeing with the view that there may be good reasons for some revisions and supplements, I strongly disagree with Elgin and Goodman's replacement thesis. (shrink)

In his 1836 lectures to the Royal Institute, the great landscape painter John Constable stated that ‘Painting is a science, and should be pursued as an inquiry into the laws of nature.’ Landscape, he went on to say, should ‘be considered a branch of natural philosophy, of which pictures are but the experiments.’1Constable makes two claims in this striking passage. The first is that painting is a form of inquiry. This is, by itself, a bold claim, but Constable goes on (...) to state that painters and scientists inquire in the same way. As controversial as these views are, both of them have been sympathetically entertained in recent years by several philosophers. In particular, Nelson Goodman and Catherine Elgin have maintained that painting, and the other arts, are forms of inquiry, and that they are akin to the sciences in important respects.2I think, however, that Constable is only half right. Although I agree that the arts are forms of inquiry, I will argue that the arts and the sciences employ radically different methods. That the arts and the sciences are very different forms of inquiry might seem to be a point so obvious as to be scarcely worth making. We can, however, appreciate more clearly how the arts can contribute to our knowledge by contrasting its methods with those of science. (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 paper is about the remarkable explosion in the literature on thought experiments since the 1980s. It enters uncharted territory. The year 1986 is of particular interest: James R. Brown presents his Platonism about thought experiments for the first time in Dubrovnik, and in Pittsburgh John D. Norton shares his empiricist approach with participants in what was probably the 20th century’s very first major conference on thought experiments. It was the time when philosophy of science had taken a pluralistic turn, (...) and the paper develops the notion that this is a key factor in the outburst of discussions about thought experiments in the 1980s. (shrink)

In my contribution to this special issue, I draw attention to the topic of the imagination at the interface of modern science and Christian theology. The paper entertains in critical perspective the notion that language divides, while the imagination unites. While the paper is intended to be explorative, a clear thesis emerges: in its commitment to consilience, Christian theology is directed to the imagination under the pressure of the pluralizing effects of a reason that is constrained by language.

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...) science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

Speculative design is a subsidiary field of critical design practice. It generally involves developing scenarios based on a central object, often a prototype. Because it is concerned with alternative present and future states, many acknowledge the potential of speculative design for raising critical discussion and public engagement on science, technology, and society. In this article, we ask how the analogy of speculative design to thought experiments highlights or problematizes certain aspects of speculative design. Building on the work of Anthony Dunne (...) and Fiona Raby, we answer this question through a comparative conceptual analysis of speculative design and thought experimentation as they are understood in their original contexts. We go on to create a theoretical framework applied to four cases: Metamorphism; Walden, a game; The Substitute; and GoatMan. We argue that understanding speculative design by analogy to thought experiments could help design practitioners better achieve the aim of public engagement, enabling a more inclusive and nuanced discussion about the form and style of speculative design. (shrink)

This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...) some installation artists have explored improvisation in their practice, both solo and collaboratively (see section 3) but, as I shall argue, it can be claimed that some works of installation art represent or express improvisation (section 4), that some invite the public to engage in improvisation (section 5), and that curatorial teams responsible for the displays of certain installation artworks have the opportunity to introduce improvisational elements in their practice, if they so wish (section 6). (shrink)