Unipolar induction, discovered in 1832 by Michael Faraday, is the case of electromagnetic induction in which a conductor and magnet are in relative rotatory motion. Attempts by scientists and engineers in the nineteenth and twentieth centuries to understand unipolar induction by using magnetic lines of force displayed striking national differences that influenced where the first largescale unipolar dynamo was built. This episode is described, as well as the effect of unipolar induction on Albert Einstein's thinking toward the special theory of (...) relativity, in sections 1–6. The analysis of electromagnetic induction in cases where the source of the magnetic field is in motion relative to the conductor is provided in sections 7–9. (shrink)

The various aesthetic phenomena found repeatedly in the scientific enterprise stem from the role of God as artist. If the Creator is an artist, how and why natural scientists study the divine art work can be understood using theological aesthetics and the philosophy of art. The aesthetic phenomena considered here are as follows. First, science reveals beauty and the sublime in natural phenomena. Second, science discovers beauty and the sublime in the theories that are developed to explain natural phenomena. Third, (...) the search for beauty often guides scientists in their work. Fourth, where beauty is perceived, feelings of the sublime often also follow upon further contemplation. This linkage of beauty in science with truth and the sublime runs counter to most aesthetic theory since Kant. Scholarship in theological aesthetics has recently argued that the modern and postmodern elevation of the sublime over beauty is merely a preference that reveals a bias against transcendence—against God. If doing and understanding science can show this sundering of the sublime from the beautiful to be in error, science also gives evidence of transcendence. (shrink)

This report summarizes our preliminary efforts to delineate, at controlled experimentation, the impact of art, and artistic aesthetics, on the way we assess science. Our results suggest that the analytic-synthetic axis of perceptual cognitive handling of the scientific object is unaffected by its artistic non-conventional contextualization, while cognitive abstraction, positive emotions and aesthetic impressions are favoured. Implications to philosophical foundations of the Cartesian scientific method are considered.