The dominance of string theory in the research landscape of quantum gravity physics (despite any direct experimental evidence) can, I think, be justified in a variety of ways. Here I focus on an argument from mathematical fertility, broadly similar to Hilary Putnam’s ‘no miracles argument’ that, I argue, many string theorists in fact espouse in some form or other. String theory has generated many surprising, useful, and well-confirmed mathematical ‘predictions’—here I focus on mirror symmetry and the mirror theorem. These predictions (...) were made on the basis of general physical principles entering into string theory. The success of the mathematical predictions are then seen as evidence for the framework that generated them. I shall attempt to defend this argument, but there are nonetheless some serious objections to be faced. These objections can only be evaded at a considerably high (philosophical) price. (shrink)

This introduction to the special issue on "Aesthetics of Science" reviews recent philosophical research on aesthetic aspects of science. Topics represented in this research include the aesthetic properties of scientific images, theories, and experiments; the relation of science and art; the role of aesthetic criteria in scientific practice and their effect on the development of science; aesthetic aspects of mathematics; the contrast between a classic and a Romantic aesthetic; and the relation between emotion, cognition, and rationality.

This article deals with the question whether aesthetic considerations affected Einstein in formulating both his theories of relativity. The opinions of philosophers and historians alike are divided on this matter. Thus, Gerald Holton supports the view that Einstein employed aesthetic considerations in formulating his theory of special relativity whereas Jim Shelton opposes it, one of his reasons being that Einstein did not mention such considerations. The other theory, namely, that of general relativity, is discussed by John D. Norton. He asserts (...) that the successful completion of this theory was due to Einstein's adherence to mathematical simplicity resulting from experience, as Einstein himself stated, and not from an aesthetic drive, to which he did not refer. The present work attempts to overcome this deficiency indirectly by investigating Einstein's aesthetic awareness and its consequences for his work. It is found that this awareness was imbedded in his perception of nature and is linked to the criteria (such as simplicity) that guided him in formulating his theories. The conclusion thus reached is that aesthetic considerations did play a role in Einstein's endeavour, contrary to the assertions of Shelton and Norton. (shrink)