David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Zygon 44 (4):757-776 (2009)
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.
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References found in this work BETA
Monroe C. Beardsley (1975). Aesthetics From Classical Greece to the Present: A Short History. University of Alabama Press.
Monroe C. Beardsley (1975). Aesthetics From Classical Greece to the Present: A Short History. University Alabama Press.
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John R. Betz (2005). Beyond the Sublime: The Aesthetics of the Analogy of Being (Part One). Modern Theology 21 (3):367-411.
Richard Dawkins (1998). Unweaving the Rainbow: Science, Delusion, and the Appetite for Wonder. Houghton Mifflin.
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