Philosophers have debated at length the epistemological status of scientific thought experiments. I contend that the literature on this topic still lacks a common conceptual framework, a lacuna that produces radical disagreement among the participants in this debate. To remedy this problem, I suggest focusing on the distinction between the internal and the external validity of an experiment, which is also crucial for thought experiments. I then develop an account of both kinds of validity in the context of thought experiments. (...) I show that we can naturally conceptualise internal validity in terms of games of make-believe. Then, I argue that external validity is best defined as accurate representation of a target system. Finally, I turn back to the current debate on thought experiments and show that my diarchic account provides a general framework that can be shared by the competing philosophical views, as well as a fruitful guide for their reconciliation. (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)

While discussions of the imagination have been limited in philosophy of science, this is beginning to change. In recent years, a vast literature on imagination in science has emerged. This paper surveys the current field, including the changing attitudes towards the scientific imagination, the fiction view of models, how the imagination can lead to knowledge and understanding, and the value of different types of imagination. It ends with a discussion of the gaps in the current literature, indicating avenues for future (...) research. (shrink)

The aim of this paper is to give an account of the use of imagination at the core of artistic creative processes involving experiential imagination, and to show that this use of the imagination does not always lead to a creative output. Creative imagining is a value-guided process, where the values are essentially subjective in that they are given in the phenomenal aspects of experience or imagined experience. But creative imagining is neither sufficient nor necessary for artistic creative processes. It (...) is not sufficient because creativity in other domains may involve value-guided experiential imagining, and it is not necessary because some art may be produced without the use of imagination, or in a manner that employs mostly other forms of imagination. (shrink)

Thought experiments (TEs) are important tools in science, used to both undermine and support theories, and communicate and explain complex phenomena. Their interest within philosophy of science has been dominated by a narrow question: How do TEs increase knowledge? My aim is to push beyond this to consider their broader value in scientific practice. I do this through an investigation into the scientific imagination. Part one explores questions regarding TEs as “experiments in the imagination” via a debate concerning the epistemic (...) status of computer simulations in science. I outline how, against Hacking, TEs also have “a life of their own” and I argue against accounts that privilege experiments over simulations (and by extension TEs) in light of their capacity to surprise in a productive way. Part two develops a pluralist account of the nature of the imagination in science. At its core, my view is that when we attend to a number of examples of TEs and consider the context in which they are used, we see that TEs engage a variety of our imaginative capacities. Existing monistic views fail to recognise the richness of the imagination and its potential in science. Part three looks to the “beauty” of TEs which is currently overlooked in the aesthetics of science literature. I put forward a new account that demonstrates the epistemic value of aesthetic features in science by showing how an appropriate fit between form and content enhances the usability of a TE, and its effectiveness as a prompt for our imagination. This also enables a more nuanced take on the proposed similarities between TEs and literary fictions. In the concluding chapter, I outline ways in which the core features of my account can be extended beyond TEs to illuminate the significance of the imagination and aesthetic values in other areas of science. (shrink)