This book develops a naturalistic aesthetic theory that accounts for aesthetic phenomena in mathematics in the same terms as it accounts for more traditional aesthetic phenomena. Building upon a view advanced by James McAllister, the assertion is that beauty in science does not confine itself to anecdotes or personal idiosyncrasies, but rather that it had played a role in shaping the development of science. Mathematicians often evaluate certain pieces of mathematics using words like beautiful, elegant, or even ugly. Such evaluations (...) are prevalent, however, rigorous investigation of them, of mathematical beauty, is much less common. The volume integrates the basic elements of aesthetics, as it has been developed over the last 200 years, with recent findings in neuropsychology as well as a good knowledge of mathematics. The volume begins with a discussion of the reasons to interpret mathematical beauty in a literal or non-literal fashion, which also serves to survey historical and contemporary approaches to mathematical beauty. The author concludes that literal approaches are much more coherent and fruitful, however, much is yet to be done. In this respect two chapters are devoted to the revision and improvement of McAllister’s theory of the role of beauty in science. These antecedents are used as a foundation to formulate a naturalistic aesthetic theory. The central idea of the theory is that aesthetic phenomena should be seen as constituting a complex dynamical system which the author calls the aesthetic as process theory. The theory comprises explications of three central topics: aesthetic experience, aesthetic value and aesthetic judgment. The theory is applied in the final part of the volume and is used to account for the three most salient and often used aesthetic terms often used in mathematics: beautiful, elegant and ugly. This application of the theory serves to illustrate the theory in action, but also to further discuss and develop some details and to showcase the theory’s explanatory capabilities. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...) evaluative and developmental practices in scientific theory selection as genuinely aesthetic, enlarging the scope of the goals of science. (shrink)

Should judgments of beauty play a guiding role in theoretical science even if beauty is not a sign of truth? In this paper I argue that they should in certain cases. If we analyze the rationality of theoretical pursuit using decision theory, a theory’s beauty can influence the utilities of the various options confronting the researcher. After considering the views of Pierre Duhem and Thomas Kuhn on aesthetics in science, I suggest that because we value freedom of inquiry we rightly (...) allow scientists some choice in how they value aesthetic properties of theories and thus some freedom to use beauty to guide their research program. (shrink)

In Beauty and Revolution in Science, James McAllister advances a rationalistic picture of science in which scientific progress is explained in terms of aesthetic evaluations of scientific theories. Here I present a new model of aesthetic evaluations by revising McAllister’s core idea of the aesthetic induction. I point out that the aesthetic induction suffers from anomalies and theoretical inconsistencies and propose a model free from such problems. The new model is based, on the one hand, on McAllister’s original model and (...) on further developments by Theo Kuipers in his “Beauty, a Road to the Truth?”. On the other hand, it is based on empirical findings about affection and emotion, and a naturalistic aesthetic theory. The new model is thus a naturalistic model with a wider explanatory range and much more internal consistency that McAllister’s. (shrink)

It is argued that mathematics is unreasonably effective in fundamental physics, that this is genuinely mysterious, and that it is best explained by a version of Pythagorean metaphysics. It is shown how this can be reconciled with the fact that mathematics is not always effective in real world applications. The thesis is that physical structure approaches isomorphism with a highly symmetric mathematical structure at very high energy levels, such as would have existed in the early universe. As the universe cooled, (...) its underlying symmetry was broken in a sequence of stages. At each stage, more forces and particles were differentiated, leading to the complexity of the observed world. Remnant structure makes mathematics effective in some real world applications, but not all. (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.

In this article I give a naturalistic-cum-formal analysis of therelation between beauty, empirical success, and truth. The analysis is based on the onehand on a hypothetical variant of the so-called `mere-exposure effect'' which has been more orless established in experimental psychology regarding exposure-affect relationshipsin general and aesthetic appreciation in particular (Zajonc 1968; Temme 1983; Bornstein 1989;Ye 2000). On the other hand it is based on the formal theory of truthlikeness andtruth approximation as presented in my From Instrumentalism to Constructive Realism (...) (2000).The analysis supports the findings of James McAllister in his beautifulBeauty and Revolution in Science (1996), by explaining and justifying them.First, scientists are essentially right in regarding aesthetic criteria useful for empiricalprogress and even for truth approximation, provided they conceive of them as less hard thanempirical criteria. Second, the aesthetic criteria of the time, the `aesthetic canon'', maywell be based on `aesthetic induction'' regarding nonempirical features of paradigms of successfultheories which scientists have come to appreciate as beautiful. Third, aestheticcriteria can play a crucial, schismatic role in scientific revolutions. Since they may well be wrong, they may, in the hands of aesthetic conservatives, retard empirical progress and hence truth approximation, but this does not happen in the hands of aesthetically flexible, `revolutionary'' scientists. We may find totallyopposite things beautiful: a simplemathematical principle as well as a series of unrepeatable complex contingencies. It is a matter of psychology.(Stephen Jay Gould, translated passage from (Kayzer 2000, 30)). (shrink)

_Helsevesenet har blitt en sentral samfunnsaktør og medisinen dets førende fag. Hvorfor har det blitt slik? En grunn er at medisinen fører sammen sfærer som ellers har vært adskilt: det sanne, det gode og det skjønne. Medisinen som fag og helsevesenet som institusjon, har blitt et fascinerende skjæringspunkt nettopp mellom evidens, etikk og estetikk. Her kobles kunnskap til det som er vondt og skjønnhet til det som er friskt. Kunnskapsproduksjonen dirigeres ut fra ønsket om å gjøre det gode ved å (...) unngå det vonde. Samtidig styres helsevesenets normer også av estetikkens normer. Koblingene mellom evidens, estetikk og etikk gir noen grunnleggende utfordringer, som det er viktig å være oppmerksom på. Riktig håndtert gjør de helsevesenet generelt og medisinen spesielt til et fascinerende og fruktbart skjæringspunkt mellom det sanne, det gode og det skjønne. _ _Nøkkelord:_ Evidens, etikk, estetikk, sannhete, godhet, skjønnhet _English Title:_ Evidence, ethics and aesthetics: Medicine at the intersection of the true, the good and the beautiful _Abstract:_ While Western history of ideas has tried to differentiate truth, goodness, and beauty, medicine is a fascinating meeting place precisely between evidence, ethics, and aesthetics. In medicine, knowledge is connected to pain and suffering and beauty to health. The production of knowledge is directed towards doing good by avoiding bad. At the same time, medicine is also governed by aesthetics. A range of challenges follow from the connection between the three spheres, but if we are attentive to the interconnectedness medicine becomes a fascinating and fruitful rendezvous of truth, goodness, and beauty. _Keywords_: Evidence, ethics, aesthetics, truth, goodness, beauty. (shrink)