First published in 1949 expressly to introduce logical positivism to English speakers. Reichenbach, with Rudolph Carnap, founded logical positivism, a form of epistemofogy that privileged scientific over metaphysical truths.

Recent philosophical work has praised the reward structure of science, while recent empirical work has shown that many scientific results may not be reproducible. I argue that the reward structure of science incentivizes scientists to focus on speed and impact at the expense of the reproducibility of their work, thus contributing to the so-called reproducibility crisis. I use a rational choice model to identify a set of sufficient conditions for this problem to arise, and I argue that these conditions plausibly (...) apply to a wide range of research situations. Currently proposed solutions will not fully address this problem. Philosophical commentators should temper their optimism about the reward structure of science. (shrink)

_Thinking about Science, Reflecting on Art: Bringing Aesthetics and Philosophy of Science togethe_r is the first book to systematically examine the relationship between the philosophy of science and aesthetics. With contributions from leading figures from both fields this edited collection engages with such questions as: Does representation function in the same way in science and in art? What important characteristic do scientific models share with literary fictions? What is the difference between interpretation in the sciences and in the arts? Can (...) there be a science of aesthetics? In what ways can aesthetics and philosophy of science be integrated? Aiming to develop the interconnections between the philosophy of science and the philosophy of art more broadly and more deeply than ever before this volume not only explores scientific representation by comparison with fiction but extends the scope of interaction to include metaphysical and other questions around methodology in mainstream philosophy of science, including the aims of science, the characterisation of scientific understanding, and the nature of observation, as well as drawing detailed comparisons between specific examples in both art and the sciences. (shrink)

What are the features of a good scientific theory? Samuel Schindler's book revisits this classical question in the philosophy of science and develops new answers to it. Theoretical virtues matter not only for choosing theories 'to work with', but also for what we are justified in believing: only if the theories we possess are good ones can we be confident that our theories' claims about nature are actually correct. Recent debates have focussed rather narrowly on a theory's capacity to predict (...) new phenomena successfully, but Schindler argues that the justification for this focus is thin. He discusses several other theory properties such as testability, accuracy, and consistency, and highlights the importance of simplicity and coherence. Using detailed historical case studies and careful philosophical analysis, Schindler challenges the received view of theoretical virtues and advances arguments for the view that science uncovers reality through theory. (shrink)

Scientists often use aesthetic values in the evaluation and choice of theories. Aesthetic values are not only regarded as leading to practically more useful theories but are often taken to stand in a special epistemic relation to the truth of a theory such that the aesthetic merit of a theory is evidence of its truth. This paper explores what aesthetic considerations influence scientists' reasoning, how such aesthetic values relate to the utility of a scientific theory, and how one can justify (...) the epistemic role for such values. The paper examines ways in which the link between beauty and truth can be defended, the challenges facing such accounts, and explores alternative epistemic roles for aesthetic values in scientific practice. (shrink)

The arts and the sciences perform many of the same cognitive functions, both serving to advance understanding. This paper explores some of the ways exemplification operates in the two fields. Both scientific experiments and works of art highlight, underscore, display, or convey some of their own features. They thereby focus attention on them, and make them available for examination and projection. Thus, the Michelson-Morley experiment exemplifies the constancy of the speed of light. Jackson Pollock's "Number One" exemplifies the viscosity of (...) paint. Despite their similarities, science and art might seem to differ in their attitude toward facts. Science is said to adhere to facts; art, to be indifferent to them. Such, I urge, is not the case. Science, like art, often scorns fact to advance understanding through fiction. Thought experiments, I contend, are scientific fictions; literary and pictorial fictions, aesthetic thought experiments. (shrink)

This paper offers a systematic analysis of Poincaré’s understanding of beauty in science. In particular, the paper examines the epistemic significance Poincaré attributes to aesthetic judgement by reconstructing and analysing his arguments on simplicity and unity in science. I offer a consistent reconstruction of Poincaré’s account and show that for Poincaré simplicity and unity are regulative principles, linked to the aim of science—that of achieving understanding of how phenomena relate. I show how Poincaré’s account of beauty in science can be (...) incorporated within his wider philosophy of science. (shrink)

Bas C. van Fraassen presents an original exploration of how we represent the world.

Featuring contributions from leading experts, this book represents the first collection of essays on the topic of art and science in the analytic tradition of ...

The first systematic study of the aesthetic evaluations that scientists pass on their theories.

Duhem’s concept of “good sense” is central to his philosophy of science, given that it is what allows scientist to decide between competing theories. Scientists must use good sense and have intellectual and moral virtues in order to be neutral arbiters of scientific theories, especially when choosing between empirically adequate theories. I discuss the parallels in Duhem’s views to those of virtue epistemologists, who understand justified belief as that arrived at by a cognitive agent with intellectual and moral virtues, showing (...) how consideration of Duhem as a virtue epistemologist offers insights into his views, as well as providing possible answers to some puzzles about virtue epistemology. The extent to which Duhem holds that the intellectual and moral virtues of the scientist determine scientific knowledge has not been generally noticed. (shrink)

Testimony about episodes of artistic creativity often describes a puzzling combination of deliberate and involuntary elements. For example, Vincent Van Gogh wrote that it was possible for him to make an especially expressive picture, or as he put it, something with “feeling” in it, because the picture had already spontaneously taken form in his mind before he started drawing. He added, however, that if there was something worthwhile in the picture, this was “not by accident but because of real intention (...) and purpose.” Reflection on such testimony and on his own experience as a poet led Paul Valéry to conclude that artistic creation always involves a combination of “conscious acts” and “spontaneous formation”; only their relative proportion varies. If this point is granted, the outstanding and notoriously difficult problem is to understand how such different elements combine in the creative process. In other words, how is inspiration, or the work of the muse, related to the artist’s deliberations, plans, rational choices, and intentional actions? In what follows I shall develop a conjecture that falls within the conceptual space defined by two extreme theses--the popular, inspirationist idea that artistic creativity is a sudden, involuntary, and ultimately inexplicable event, and the dubious, rationalistic counterthesis, which characterizes artistic creation as a principled, deliberate selection from amongst an array of previously known options, each of which is associated with an expected quantity of artistic value. In my first section I discuss Henri Poincaré’s reflections on creativity in his 1908 essay, “L’Invention mathématique.” Although some of Poincaré’s ideas have been restated and elaborated upon in the literature on creativity, I contend that his most important claims still merit a closer look. Taking Poincairé’s general model as my point of departure, I sketch a new conjecture about artistic creativity in section 2; I also discuss a kindred proposal by Jon Elster. In section 3 I further illustrate and explain this conjecture with reference to Virginia Woolf’s artistic breakthrough in the writing of Jacob’s Room. In my final section I take up and respond to objections that may be raised against these claims about artistic creativity. (shrink)