Milena Ivanova

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.

This article starts an engagement on the aesthetics of experiments and offers an account for analysing how aesthetics features in the design, evaluation and reception of experiments. I identify two dimensions of aesthetic evaluation of experiments: design and significance. When it comes to design, a number of qualities, such as simplicity, economy and aptness, are analysed and illustrated with the famous Meselson-Stahl experiment. Beautiful experiments are also regarded to make significant discoveries, but I argue against a narrow construal of experimental aims. By drawing on the plurality of goals experimenters have and diversity of aesthetic responses, I argue that experiments are aesthetically appreciated both when they discover and when they produce disruptive results.

Can experiments be appreciated for their aesthetic value and what would this appreciation be focused on? This chapter identifies a number of categories that are the focus on our aesthetic appreciation of experiments and shows how these categories are rather stable across different experimental traditions. It is argued that we can find aesthetic value in the phenomena unveiled in the experimental set up, the instruments and tolls used, the results that are obtained, the process of conceptualisation of the experimental set up, the experimental design and the very performance of the experiment. The chapter draws a distinction between immediately accessible to the senses beauty and intellectual beauty and argues that the ultimate source of aesthetic value is to be found in the relationship between design and significance.

This paper examines Duhem’s concept of good sense as an attempt to support a non rule-governed account of rationality in theory choice. Faced with the underdetermination of theory by evidence thesis and the continuity thesis, Duhem tried to account for the ability of scientists to choose theories that continuously grow to a natural classification. I will examine the concept of good sense and the problems that stem from it. I will also present a recent attempt by David Stump to link good sense to virtue epistemology. I will argue that even though this approach can be useful for the better comprehension of the concept of good sense, there are some substantial differences between virtue epistemologists and Duhem. In the light of this reconstruction of good sense, I will propose a possible way to interpret the concept of good sense, which overcomes the noted problems and fits better with Duhem’s views on scientific method and motivation in developing the concept of good sense.

The role intellectual virtues play in scientific inquiry has raised significant discussions in the recent literature. A number of authors have recently explored the link between virtue epistemology and philosophy of science with the aim to show whether epistemic virtues can contribute to the resolution of the problem of theory choice. This paper analyses how intellectual virtues can be beneficial for successful resolution of theory choice. We explore the role of virtues as well as vices in scientific inquiry and their beneficial effects in the context of theory choice. We argue that vices can play a role in widening the set of potential candidate theories and support our claim with historical examples and normative arguments from formal social epistemology. We argue that even though virtues appear to be neither necessary nor sufficient for scientific success, they have a positive effect because they accelerate successful convergence amongst scientists in theory choice situations

There has been a significant interest in the recent literature in developing a solution to the problem of theory choice which is both normative and descriptive, but agent-based rather than rule-based, originating from Pierre Duhem’s notion of ‘good sense’. In this paper we present the properties Duhem attributes to good sense in different contexts, before examining its current reconstructions advanced in the literature and their limitations. We propose an alternative account of good sense, seen as promoting social consensus in science, and show that it is superior to its rivals in two respects: it is more faithful to Duhemian good sense, and it cashes out the effect that virtues have on scientific progress. We then defend the social consensus account against objections that highlight the positive role of diversity and division of labour in science

This paper examines whether, and in what contexts, Duhem’s and Poincaré’s views can be regarded as conventionalist or structural realist. After analysing the three different contexts in which conventionalism is attributed to them – in the context of the aim of science, the underdetermination problem and the epistemological status of certain principles – I show that neither Duhem’s nor Poincaré’s arguments can be regarded as conventionalist. I argue that Duhem and Poincaré offer different solutions to the problem of theory choice, differ in their stances towards scientific knowledge and the status of scientific principles, making their epistemological claims substantially different

In this paper I argue that Poincaré’s acceptance of the atom does not indicate a shift from instrumentalism to scientific realism. I examine the implications of Poincaré’s acceptance of the existence of the atom for our current understanding of his philosophy of science. Specifically, how can we understand Poincaré’s acceptance of the atom in structural realist terms? I examine his 1912 paper carefully and suggest that it does not entail scientific realism in the sense of acceptance of the fundamental existence of atoms but rather, argues against fundamental entities. I argue that Poincaré’s paper motivates a non-fundamentalist view about the world, and that this is compatible with his structuralism.

Poincaré is well known for his conventionalism and structuralism. However, the relationship between these two theses and their place in Poincaré׳s epistemology of science remain puzzling. In this paper I show the scope of Poincaré׳s conventionalism and its position in Poincaré׳s hierarchical approach to scientific theories. I argue that for Poincaré scientific knowledge is relational and made possible by synthetic a priori, empirical and conventional elements, which, however, are not chosen arbitrarily. By examining his geometric conventionalism, his hierarchical account of science and defence of continuity in theory change, I argue that Poincaré defends a complex structuralist position based on synthetic a priori and conventional elements, the mind-dependence of which precludes epistemic access to mind-independent structures.

In this article I discuss a recent argument due to Dan McArthur, who suggests that the charge that Michael Friedman’s relativised a priori leads to irrationality in theory change can be avoided by adopting structural realism. I provide several arguments to show that the conjunction of Friedman’s relativised a priori with structural realism cannot make the former avoid the charge of irrationality. I also explore the extent to which Friedman’s view and structural realism are compatible, a presupposition of McArthur’s argument. This compatibility is usually questioned, due to the Kantian aspect of Friedman’s view, which clashes with the metaphysical premise of scientific realism. I argue that structural realism does not necessarily depend on this premise and as a consequence can be compatible with Friedman’s view, but more importantly I question whether Friedman’s view really implies mind dependence.

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.

Scientists often refer to their experiments, theories, images and instruments as beautiful and report that their scientific work is a source of aesthetic experiences. How do such aesthetic values affect scientific activities, and can aesthetic values play a cognitive role in science? In this chapter, I identify the different levels at which aesthetic values shape scientific products and processes, reflect on how philosophers have justified the cognitive role of such aesthetic values, and draw insights from recent discussions on the aesthetics of scientific practice for the values in science debate.

While science is taken to differ from non-scientific activities in virtue of its methodology, metaphysics is usually defined in terms of its subject matter. However, many traditional questions of metaphysics are addressed in a variety of ways by science, making it difficult to demarcate metaphysics from science solely in terms of their subject matter. Are the methodologies of science and metaphysics sufficiently distinct to act as criteria of demarcation between the two? In this chapter we focus on several important overlaps in the methodologies used within science and metaphysics in order to argue that focusing solely on methodology is insufficient to offer a sharp demarcation between metaphysics and science, and consider the consequences of this for the wider relationship between science and metaphysics.

In his response to my, Ian Kidd claims that my argument against Stump’s interpretation of Duhem’s concept of ‘good sense’ is unsound because it ignores an important distinction within virtue epistemology. In light of the distinction between reliabilist and responsibilist virtue epistemology, Kidd argues that Duhem can be seen as supporting the latter, which he further illustrates with a discussion of Duhem’s argument against ‘perfect theory’. I argue that no substantive argument is offered to show that the distinction is relevant and can establish that Duhem’s ‘good sense’ can be understood within responsibilist virtue epistemology. I furthermore demonstrate that Kidd’s attempt to support his contention relies on a crucial misreading of Duhem’s general philosophy of science, and in doing so highlight the importance of understanding ‘good sense’ in its original context, that of theory choice.

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.

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.

This paper challenges the appeal to theory virtues in theory choice as well as the appeal to the intellectual and moral virtues of an agent as determining unique choices between empirically equivalent theories. After arguing that theoretical virtues do not determine the choice of one theory at the expense of another theory, I argue that nor does the appeal to intellectual and moral virtues single out one agent, who defends a particular theory, and exclude another agent defending an alternative theory. I analyse Duhem’s concept of good sense and its recent interpretation in terms of virtue epistemology. I argue that the virtue epistemological interpretation does not show how good sense leads to conclusive choices and scientific progress.

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.

The holistic thesis developed by Pierre Duhem challenges the idea that our evidence can conclusively falsify a theory. Given that no scientific theory is tested in isolation, a negative experiment can always be attributed to components other than the theory we test – to the auxiliary hypotheses and background assumptions. How do scientists decide whether the experimental result undermines the theory or points at an error in the underlying assumptions? Duhem argues that we cannot offer a rule that directs when the scientist should employ a radical or conservative strategy in light of a negative result, and ultimately they will appeal to their intuition. More recently philosophers have offered a number of strategies of how to locate error and justify the abandonment of a theory or an auxiliary hypothesis. This Element analyses Duhem's response to holism and subsequent accounts of how the problem can be resolved.

The relationship between aesthetics and science has begun to generate substantial interest. However, for the most part, the focus has been on the beauty of theories, and other aspects of scientific practice have been neglected. This book offers a novel perspective on aesthetics in experimentation via ten original essays from an interdisciplinary group comprised of philosophers, historians of science and art, and artists. The collection provides an analysis of the concept of beauty in the evaluation of experiments. What properties do practising experimenters value? How have the aesthetic properties of scientific experiments changed over the years? Secondly, the volume looks at the role that aesthetic factors, including negative values such as ugliness, as well as experiences of the sublime and the profound, play in the construction of an experiment and its reception. Thirdly, the chapters provide in-depth historical case studies from the Royal Society, which also allows for a study of the depiction of scientific experiment in artworks, as well as contemporary examples from the Large Hadron Collider and cases of experiments designed by artificial intelligence. Finally, it offers an exploration of the commonalities between how we learn from experiments on the one hand and the cognitive value of artworks on the other. The Aesthetics of Scientific Experiments will be of interest to researchers and advanced students working in philosophy and history of science, philosophy and history of art, as well as practising scientists and science communicators.

A growing literature in philosophy of science focuses on the role of surprise in scientific practice. The aesthetic dimension of science is also gaining momentum in very recent discussions. While surprising results have been recognised as playing an important epistemic role in science, the literature so far has primarily focused on establishing the power of simulations and thought experiments as compared to experiments and the epistemic superiority of novel predictions over accommodations. In this paper we offer the first empirical analysis of the role of surprise as an aesthetic response, drawing from in-depth interviews with 215 scientists in four countries. We identify what roles scientists assign to surprising results, show that surprise is often experienced as an aesthetic response and identify properties, triggers, and outcomes of surprise in science.