I develop an account of the relationship between aesthetics and knowledge, focusing on scientific practice. Cognitivists infer from ‘partial sensitivity’—aesthetic appreciation partly depends on doxastic states—to ‘factivity’, the idea that the truth or otherwise of those beliefs makes a difference to aesthetic appreciation. Rejecting factivity, I develop a notion of ‘epistemic engagement’: partaking genuinely in a knowledge-directed process of coming to epistemic judgements, and suggest that this better accommodates the relationship between the aesthetic and the epistemic. Scientific training (and other (...) knowledge-directed activities), I argue, involves ‘attunement’: the co-option of aesthetic judgements towards epistemic ends. Thus, the connection between aesthetic appreciation and knowledge is psychological and contingent. This view has consequences for the warrant of aesthetic judgement in science, namely, the locus of justification is those processes of attunement, not the aesthetic judgements themselves. (shrink)

Scientific results are often presented as ‘surprising’ as if that is a good thing. Is it? And if so, why? What is the value of surprise in science? Discussions of surprise in science have been limited, but surprise has been used as a way of defending the epistemic privilege of experiments over simulations. The argument is that while experiments can ‘confound’, simulations can merely surprise (Morgan, 2005). Our aim in this paper is to show that the discussion of surprise can (...) be usefully extended to thought experiments and theoretical derivations. We argue that in focusing on these features of scientific practice, we can see that the surprise-confoundment distinction does not fully capture surprise in science. We set out how thought experiments and theoretical derivations can bring about surprises that can be disruptive in a productive way, and we end by exploring how this links with their future fertility. (shrink)

This article explores the aesthetic dimensions of scientific experimentation, addressing specifically how aesthetic features enter the construction, evaluation and reception of an experiment. I highlight the relationship between experiments and artistic acts in the early years of the Royal Society where experiments do not serve only epistemic aims but also aim to generate feelings of awe and pleasure. I turn to analysing which aspects of experiments are appreciated aesthetically, identifying several contenders, from the ability of an experiment to uncover nature’s (...) beauty, to encapsulating original designs and human creativity. Following this analysis, I focus on the notion of beauty: what makes an experiment beautiful? Several common qualities are explored, from the simplicity and economy of the experiment, to the significance of the experimental results. (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...) how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

Visual artists and scientists frequently employ the labour of assistants and technicians, however these workers generally receive little recognition for their contribution to the production of artistic and scientific work. They are effectively “invisible”. This invisible status however, comes at the cost of a better understanding of artistic and scientific work, and improvements in artistic and scientific practice. To enhance understanding of artistic and scientific work, and these practices more broadly, it is vital to discern the nature of an assistant (...) or technician’s contribution to the production of a work, which is difficult as it is uncommon to discuss these workers. To address this, I investigate how different kinds of parallel working arrangements in collective artistic and scientific practices affect the creative potential of individuals involved. Different working arrangements permit different degrees of autonomy for individuals involved in these practices. Significantly, a lack of autonomy precludes the opportunity to act spontaneously and so exercise, what I term, “creative agency”. Evaluating the contribution of an assistant or technician based on the degree of autonomy that they are granted in the production of a work is an approach that I show can be used to precisely determine the nature of their contribution to the production of a work and accordingly, what kind of recognition an agent should receive for this. Importantly, this approach has the advantage of explaining the artistic and epistemic significance of different kinds of contribution to the production of artistic and scientific work. (shrink)

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty as employed (...) by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...) But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

I argue for the unity of imagination in two prima facie diverse contexts: experiences of beauty and achievements of understanding. I develop my argument in three steps. First, I begin by describing a type of aesthetic experience that is grounded in a set of imaginative activities on the part of the person having the experience. Second, I argue that the same set of imaginative activities that grounds this type of aesthetic experience also contributes to achievements of understanding. Third, I show (...) that my unified account of imagination has important implications: it sheds light on two puzzling phenomena, the aesthetic value of science and the cognitive value of art. (shrink)

Imagination is necessary for scientific practice, yet there are no in vivo sociological studies on the ways that imagination is taught, thought of, or evaluated by scientists. This article begins to remedy this by presenting the results of a qualitative study performed on two systems biology laboratories. I found that the more advanced a participant was in their scientific career, the more they valued imagination. Further, positive attitudes toward imagination were primarily due to the perceived role of imagination in problem-solving. (...) But not all problem-solving episodes involved clear appeals to imagination, only maximally specific problems did. This pattern is explained by the presence of an implicit norm governing imagination use in the two labs: only use imagination on maximally specific problems, and only when all other available methods have failed. This norm was confirmed by the participants, and I argue that it has epistemological reasons in its favour. I also found that its strength varies inversely with career stage, such that more advanced scientists do (and should) occasionally bring their imaginations to bear on more general problems. A story about scientific pedagogy explains the trend away from (and back to) imagination over the course of a scientific career. Finally, some positive recommendations are given for a more imagination-friendly scientific pedagogy. (shrink)

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)

This book looks at the role of the imagination in science, from both philosophical and psychological perspectives. These contributions combine to provide a comprehensive and exciting picture of this under-explored subject.

When the results of an experiment appears to disconfirm a hypothesis, how does one know whether it’s the hypothesis, or rather some auxiliary hypothesis or assumption, that is at fault? Philosophers’ answers to this question, now known as “Duhem’s problem,” have differed widely. Despite these differences, we affirm Duhem’s original position that the logical structure of this problem alone does not allow a solution. A survey of philosophical approaches to Duhem’s problem indicates that what allows any philosopher, or scientists for (...) that matter, to solve this problem is the addition of epistemic information that guides their assignment of praise and blame after a negative test. We therefore advocate a distinction between the logical and epistemic formulations of Duhem’s problem, the latter relying upon additional relevant information about the system being tested. Recognition of the role of this additional information suggests that some proposed solutions to the epistemic form of Duhem’s problem are preferable over others. (shrink)

Creativity is typically defined as a disposition to produce valuable ideas. We argue that this is a mistake and defend a new definition of creativity in terms of the imagination. It follows that creativity has instrumental value at most and then only in the right circumstances. We consider the role of tradition and judgment in worthwhile creativity and argue that there is frequently a tension between greater creativity and the production of value.

Science is the study of our world, as it is in its messy reality. Nonetheless, science requires idealization to function—if we are to attempt to understand the world, we have to find ways to reduce its complexity. Idealization and the Aims of Science shows just how crucial idealization is to science and why it matters. Beginning with the acknowledgment of our status as limited human agents trying to make sense of an exceedingly complex world, Angela Potochnik moves on to explain (...) how science aims to depict and make use of causal patterns—a project that makes essential use of idealization. She offers case studies from a number of branches of science to demonstrate the ubiquity of idealization, shows how causal patterns are used to develop scientific explanations, and describes how the necessarily imperfect connection between science and truth leads to researchers’ values influencing their findings. The resulting book is a tour de force, a synthesis of the study of idealization that also offers countless new insights and avenues for future exploration. (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)

Can aesthetic judgements legitimately be linked to the success of scientific theories? I suggest that a satisfactory answer to this question should account for the persistent attraction that aesthetic considerations seem to have for scientists, while also explaining the apparent instability of the link between the beauty of a theory and its truth. I argue that two widespread tendencies in the literature, Pythagorean and subjectivist approaches, have difficulties meeting this twofold challenge. I propose a Kantian conception of aesthetic judgements as (...) second‐order considerations, related to our own intellectual capacities for making sense of the world, and argue that it fares better. (shrink)

This 1983 book is a lively and clearly written introduction to the philosophy of natural science, organized around the central theme of scientific realism. It has two parts. 'Representing' deals with the different philosophical accounts of scientific objectivity and the reality of scientific entities. The views of Kuhn, Feyerabend, Lakatos, Putnam, van Fraassen, and others, are all considered. 'Intervening' presents the first sustained treatment of experimental science for many years and uses it to give a new direction to debates about (...) realism. Hacking illustrates how experimentation often has a life independent of theory. He argues that although the philosophical problems of scientific realism can not be resolved when put in terms of theory alone, a sound philosophy of experiment provides compelling grounds for a realistic attitude. A great many scientific examples are described in both parts of the book, which also includes lucid expositions of recent high energy physics and a remarkable chapter on the microscope in cell biology. (shrink)

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 ...

This article is a response to yuriko saito's "is there a correct aesthetic appreciation of nature?" (jae 18:4) which challenges the position on the aesthetic appreciation of nature that i develop in a series of recent articles. i here consider saito's arguments, concluding that they neither establish the correctness of a wide range of kinds of aesthetic appreciations of nature nor undercut the grounds for the prominence i grant to scientific considerations in such appreciation.

This classic work in the philosophy of physical science is an incisive and readable account of the scientific method. Pierre Duhem was one of the great figures in French science, a devoted teacher, and a distinguished scholar of the history and philosophy of science. This book represents his most mature thought on a wide range of topics.

In this sequence of philosophical essays about natural science, the author argues that fundamental explanatory laws, the deepest and most admired successes of modern physics, do not in fact describe regularities that exist in nature. Cartwright draws from many real-life examples to propound a novel distinction: that theoretical entities, and the complex and localized laws that describe them, can be interpreted realistically, but the simple unifying laws of basic theory cannot.

Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always beautiful (...) (that is, positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made ‘internal’ to the theory of appropriate aesthetic appreciation, in the sense that this theory determines the correct scientific categories for appreciating a natural object, in part, in virtue of a ‘beauty-making’ criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view. (shrink)

Truth is standardly considered a requirement on epistemic acceptability. But science and philosophy deploy models, idealizations and thought experiments that prescind from truth to achieve other cognitive ends. I argue that such felicitous falsehoods function as cognitively useful fictions. They are cognitively useful because they exemplify and afford epistemic access to features they share with the relevant facts. They are falsehoods in that they diverge from the facts. Nonetheless, they are true enough to serve their epistemic purposes. Theories that contain (...) them have testable consequences, hence are factually defeasible. (shrink)

In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.

The concept of creativity is a central one in folk psychological explanation and has long been prominent in philosophical debates about the nature of art, genius, and the imagination. The scientific investigation of creativity in humans is also well established, and there has been increasing interest in the question of whether the concept can be rigorously applied to non-human animals. In this paper, I argue that such applications face serious challenges of both a conceptual and methodological character, reflecting deep controversies (...) within both philosophy and psychology concerning how to define and apply the concept of creativity. After providing a brief review of some of the leading theories of creativity and discussing some of the strongest putative cases of creative intelligence in non-human animals, I examine some of the more worrisome difficulties faced by attempts to use these theories to answer the question of whether animals are truly creative. I conclude by examining how we might overcome them, and suggest that one approach worth taking seriously is to adopt what I term a Strong Rejectionist view of creativity, eschewing use of the term entirely in the scientific study of comparative cognition. (shrink)

: Our paper discusses the epistemic attitudes of particle physicists on the discovery of the Higgs boson at the Large Hadron Collider. It is based on questionnaires and interviews made shortly before and shortly after the discovery in 2012. We show, to begin with, that the discovery of a Standard Model Higgs boson was less expected than is sometimes assumed. Once the new particle was shown to have properties consistent with SM expectations – albeit with significant experimental uncertainties –, there (...) was a broad agreement that ‘a’ Higgs boson had been found. Physicists adopted a two-pronged strategy. On the one hand, they treated the particle as a SM Higgs boson and tried to establish its properties with higher precision; on the other hand, they searched for any hints of physics beyond the SM. This motivates our first philosophical thesis: the Higgs discovery, being of fundamental importance and establishing a new kind of particle, represented a crucial experiment if one interprets this notion in an appropriate sense. By embedding the LHC into the tradition of previous precision experiments and the experimental strategies thus established, underdetermination and confirmational holism are kept at bay. Second, our case study suggests that criteria of theory preference should be understood as epistemic and pragmatic values that have to be weighed in factual research practice. The Higgs discovery led to a shift from pragmatic to epistemic values as regards the mechanisms of electroweak symmetry breaking. Complex criteria, such as naturalness, combine epistemic and pragmatic different values, but are coherently applied by the community. (shrink)

Going back at least to Duhem, there is a tradition of thinking that crucial experiments are impossible in science. I analyse Duhem's arguments and show that they are based on the excessively strong assumption that only deductive reasoning is permissible in experimental science. This opens the possibility that some principle of inductive inference could provide a sufficient reason for preferring one among a group of hypotheses on the basis of an appropriately controlled experiment. To be sure, there are analogues to (...) Duhem's problems that pertain to inductive inference. Using a famous experiment from the history of molecular biology as an example, I show that an experimentalist version of inference to the best explanation (IBE) does a better job in handling these problems than other accounts of scientific inference. Furthermore, I introduce a concept of experimental mechanism and show that it can guide inferences from data within an IBE-based framework for induction. 1. Introduction2. Duhem on the Logic of Crucial Experiments3. ‘The Most Beautiful Experiment in Biology’4. Why Not Simple Elimination?5. Severe Testing6. An Experimentalist Version of IBE 6.1. Physiological and experimental mechanisms6.2. Explaining the data6.3. IBE and the problem of untested auxiliaries6.4. IBE-turtles all the way down7. Van Fraassen's ‘Bad Lot’ Argument8. IBE and Bayesianism9. Conclusions. (shrink)

A number of recent discussions comparing computer simulation and traditional experimentation have focused on the significance of “materiality.” I challenge several claims emerging from this work and suggest that computer simulation studies are material experiments in a straightforward sense. After discussing some of the implications of this material status for the epistemology of computer simulation, I consider the extent to which materiality (in a particular sense) is important when it comes to making justified inferences about target systems on the basis (...) of experimental results. (shrink)

Experiments are commonly thought to have epistemic privilege over simulations. Two ideas underpin this belief: first, experiments generate greater inferential power than simulations, and second, simulations cannot surprise us the way experiments can. In this article I argue that neither of these claims is true of experiments versus simulations in general. We should give up the common practice of resting in-principle judgments about the epistemic value of cases of scientific inquiry on whether we classify those cases as experiments or simulations, (...) per se. To the extent that either methodology puts researchers in a privileged epistemic position, this is context sensitive. (shrink)

Jonathan Bennett (1974) maintains that Huckleberry Finn’s deliberations about whether to return Jim to slavery afford insight into the tension between sympathy and moral judgment; Miranda Fricker (2007) argues that the trial scene in To Kill a Mockingbird affords insight into the nature of testimonial injustice. Neither claims merely that the works prompt an attentive reader to think something new or to change her mind. Rather, they consider the reader cognitively better off for her encounters with the novels. Nor is (...) her cognitive improvement restricted to acquiring new justified true beliefs about the works themselves. What the reader gleans is supposed to enhance her knowledge or understanding of the .. (shrink)

Science's priority rule rewards those who are first to make a discovery, at the expense of all other scientists working towards the same goal, no matter how close they may be to making the same discovery. I propose an explanation of the priority rule that, better than previous explanations, accounts for the distinctive features of the rule. My explanation treats the priority system, and more generally, any scheme of rewards for scientific endeavor, as a device for achieving an allocation of (...) resources among different research programs that provides as much benefit as possible to society. I show that the priority system is especially well suited to finding an efficient allocation of resources in those situations, characteristic of scientific inquiry, in which any success in an endeavor subsequent to the first success brings little additional benefit to society. (shrink)

What is the role of the imagination in scientific practice? Here I focus on the nature and role of invitations to imagine in certain scientific texts as represented by the example of Einstein’s Special Relativity paper from 1905. Drawing on related discussions in aesthetics, I argue, on the one hand, that this role cannot be simply subsumed under ‘supposition’ but that, on the other, concerns about the impact of genre and symbolism can be dealt with, and hence present no obstacle (...) to regarding imagination as appropriately belief-like. By applying the framework of ‘semi- propositional representations’ and ‘quasi-truth’ to this case I thereby offer a new unitary framework for understanding the epistemology of scientific imagination. (shrink)

The practice of paleontology has an aesthetic as well as an epistemic dimension. Paleontology has distinctively aesthetic aims, such as cultivating sense of place and developing a better aesthetic appreciation of fossils. Scientific cognitivists in environmental aesthetics argue that scientific knowledge deepens and enhances our appreciation of nature. Drawing on that tradition, this Element argues that knowledge of something's history makes a difference to how we engage with it aesthetically. This means that investigation of the deep past can contribute to (...) aesthetic aims. Aesthetic engagement with fossils and landscapes is also crucial to explaining paleontology's epistemic successes. (shrink)

Preface: This volume originated in a conference on "The Place of Thought Experiments in Science and Philosophy" which was organized by us and held at the Center for Philosophy of Science at the University of Pittsburgh, April 18-20, 1986. The idea behind this conference was to encourage philosophers and scientists to talk to each other about the role of thought experiments in their various disciplines. These papers were either written for the conference, or were written after it by commentators and (...) other participants.... We hope that this volume will be of use to other philosophers and scientists who are interested in thought experiments, as well as inspire more work in this area.... (shrink)

This paper provides an account of the nature of creativity in high-energy physics experiments through an integrated historical and philosophical study of the current and planned attempts to measure the self-coupling of the Higgs boson by two experimental collaborations at the Large Hadron Collider and the planned High Luminosity Large Hadron Collider. A notion of creativity is first identified broadly as an increase in the epistemic value of a measurement outcome from an unexpected transformation, and narrowly as a condition for (...) knowledge of the measurement of the self-coupling of the Higgs. Drawing upon Tal’s model-based epistemology of measurement this paper shows how without change to ‘readings’ a transformation to the model of the measurement process can increase the epistemic value of the measurement outcome. Such transformations are attributed to the creativity of the experimental collaboration. Creativity, in this context, is both a product, a creative and improved model, and the distributed collaborative process of transformation to the model of the measurement process. For the case of the planned measurements at the HL-LHC, where models of the measurement process perform the epistemic function of prediction, creativity is included in the models of the measurement process, both as projected quantified creativity and as an assumed property of the future collaborations. (shrink)