Early in 1926 Erwin Schrodinger presented his famous theory of wave mechanics to account for atomic phenomena. It is often assumed that Schrodinger’s work reflected a realist philosophy. In this article, I will argue that this assumption is incorrect.

Everyone appreciates a clever mathematical picture, but the prevailing attitude is one of scepticism: diagrams, illustrations, and pictures prove nothing; they are psychologically important and heuristically useful, but only a traditional verbal/symbolic proof provides genuine evidence for a purported theorem. Like some other recent writers (Barwise and Etchemendy [1991]; Shin [1994]; and Giaquinto [1994]) I take a different view and argue, from historical considerations and some striking examples, for a positive evidential role for pictures in mathematics.

The theoretical physicist Paul Dirac rejected, explicitly on aesthetic grounds, a successful theory known as quantum electrodynamics (QED), which is the prototype for the family of theories known as quantum field theories (QFTs). Remarkably, the theoretical physicist Steven Weinberg, also largely on aesthetic grounds, supports QED and other QFTs. In order to evaluate these opposing aesthetic views a short introduction to the physical properties of QFTs is presented together with a detailed analysis of the aesthetic claims of Dirac and Weinberg. (...) It turns out that Dirac rejected QED, without regard to its success, because this theory fails to yield to what he perceived as beautiful mathematics, whereas Weinberg's support of QFTs is founded primarily on the physical concepts of the theories. In particular, he relies on symmetries that are the basis for the construction of the extremely successful current fundamental theories of particles physics. This success was decisive in leading to Weinberg's conviction of the beauty of QFTs. As a result of the evaluation of these approaches, the factors causing scientists to perceive a theory as being a fundamentally beautiful theory are discussed in detail. (shrink)

Everyone is familiar with the measure of beauty that has been proposed by Birkhoff, the famous formula M = O/C. Although I show that the formula in its original form cannot be maintained, I present a reinterpretation that adapts the formula for measuring the beauty of mathematical proofs. However, this type of measure is not the only aesthetic element in mathematics. There exists a 'romantic' side as well, to use the term introduced by François Le Lionnais. Thus, a more complex (...) proposal of mathematical beauty is presented. Finally and as a consequence, I argue against the dichotomy that associates science, including mathematics, with the beauty of simplicity and that associates the arts with the beauty of complexity. As an example, the work of Oulipo, Raymond Queneau in particular, is briefly presented. (shrink)