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)

In the sixth section of his light quantum paper of 1905, Einstein presented the miraculous argument, as I shall call it. Pointing out an analogy with ideal gases and dilute solutions, he showed that the macroscopic, thermodynamic properties of high frequency heat radiation carry a distinctive signature of finitely many, spatially localized, independent components and so inferred that it consists of quanta. I describe how Einstein’s other statistical papers of 1905 had already developed and exploited the idea that the ideal (...) gas law is another macroscopic signature of finitely many, spatially localized, independent components and that these papers in turn drew on his first two, “worthless” papers of 1901 and 1902 on intermolecular forces. However, while the ideal gas law was a secure signature of independence, it was harder to use as an indicator that there are finitely many components and that they are spatially localized. Further, since his analysis of the ideal gas law depended on the assumption that the number of components was fixed, its use was precluded for heat radiation, whose component quanta vary in number in most processes. So Einstein needed and found another, more powerful signature of discreteness applicable to heat radiation and which indicated all these properties. It used one of the few processes, volume fluctuation, in which heat radiation does not alter the number of quanta. (shrink)

We discuss Einstein’s knowledge of projective geometry. We show that two pages of Einstein’s Scratch Notebook from around 1912 with geometrical sketches can directly be associated with similar sketches in manuscript pages dating from his Princeton years. By this correspondence, we show that the sketches are all related to a common theme, the discussion of involution in a projective geometry setting with particular emphasis on the infinite point. We offer a conjecture as to the probable purpose of these geometric considerations.