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. (shrink)

In this article I examine the status of putative aesthetic judgements in science and mathematics. I argue that if the judgements at issue are taken to be genuinely aesthetic they can be divided into two types, positing either a disjunction or connection between aesthetic and epistemic criteria in theory/proof assessment. I show that both types of claim face serious difficulties in explaining the purported role of aesthetic judgements in these areas. I claim that the best current explanation of this role, (...) McAllister's 'aesthetic induction' model, fails to demonstrate that the judgements at issue are genuinely aesthetic. I argue that, in light of these considerations, there are strong reasons for suspecting that many, and perhaps all, of the supposedly aesthetic claims are not genuinely aesthetic but are in fact 'masked' epistemic assessments. (shrink)

I first provide an introduction to a neglected topic in contemporary aesthetics: intellectual beauty. I then review James McAllister’s critique of autonomism and reductionism regarding the relation between empirical and aesthetic criteria in scientific theory evaluation. Finally, I critique McAllister’s “aesthetic induction” and defend an alternative model that emphasizes the holistic coherence of aesthetic and other theoretical virtues in scientific theorizing.

The metaphorical nature of biological language is examined and the use of metaphors for providing the linguistic context in which similarities and differences are made is described. Certain pervasive metaphors which are characterised by systemic properties are noted, and in order to provide some focus to the study, systemic metaphors associated with machine, text and organism are discussed. Other systemic metaphors such as society and circuit are also reported. Some details concerning interrelations between automaton and organism are presented in the (...) light of the previous discussion.An approach towards the analysis of biosystem metaphors is outlined which relates part-whole, organisational level and systemic metaphors in a single model. Examples are provided throughout the discussion and mainly come from computing. The potential for metaphorical transfers between these domains is considered. (shrink)

Biologically motivated computing seeks to transfer ideas from the biosciences to computer science. In seeking to make transfers it is helpful to be able to appreciate the metaphors which people use. This is because metaphors provide the context through which analogies and similes are made and by which many scientific models are constructed. As such, it is important for any rapidly evolving domain of knowledge to have developments accounted for in these terms. This paper seeks to provide one overview of (...) the process of modelling and shows how it can be used to account for a variety of biologically motivated computational models. Certain key ideas are identified in the subsequent analysis of biological sources, notably, systemic metaphors. Three important aspects of biological thinking are then considered in the light of computer science applications: biological organization, the cell, and models of evolution. The analysis throughout the paper is descriptive rather than formalized so that a large variety of potential applications may be considered. (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)

What do mathematicians mean when they use terms such as ‘deep’, ‘elegant’, and ‘beautiful’? By applying empirical methods developed by social psychologists, we demonstrate that mathematicians' appraisals of proofs vary on four dimensions: aesthetics, intricacy, utility, and precision. We pay particular attention to mathematical beauty and show that, contrary to the classical view, beauty and simplicity are almost entirely unrelated 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)

Many of the methods commonly used to research mathematical practice, such as analyses of historical episodes or individual cases, are particularly well-suited to generating causal hypotheses, but less well-suited to testing causal hypotheses. In this paper we reflect on the contribution that the so-called hypothetico-deductive method, with a particular focus on experimental studies, can make to our understanding of mathematical practice. By way of illustration, we report an experiment that investigated how mathematicians attribute aesthetic properties to mathematical proofs. We demonstrate (...) that perceptions of the aesthetic properties of mathematical proofs are, in some cases at least, subject to social influence. Specifically, we show that mathematicians’ aesthetic judgements tend to conform to the judgements made by others. Pedagogical implications are discussed. (shrink)

This is an 18,500 word bibliography of philosophical scholarship on Beauty which was published online in the Oxford Bibliographies Online. The entry includes an Introduction of 800 words, 21 x 400-word sub-themes and 168 annotated references. INTRODUCTION Philosophical interest in beauty began with the earliest recorded philosophers. Beauty was deemed to be an essential ingredient in a good life and so what it was, where it was to be found and how it was to be included in a life were (...) prime considerations. The way beauty has been conceived has been influenced by an author’s other philosophical commitments, metaphysical, epistemological and ethical and such commitments reflect the historical and cultural position of the author. For example, beauty is a manifestation of the divine on earth to which we respond with love and adoration; beauty is a harmony of the soul which we achieve through cultivating feeling in a rational and tempered way; beauty is an idea raised in us by certain objective features of the world; beauty is a sentiment which can nonetheless be cultivated to be appropriate to its object; beauty is the object of a judgment by which we exercise the social, comparative and inter-subjective elements of cognition and so on. Such views on beauty not only reveal underlying philosophical commitments but also reflect positive contributions to understanding the nature of value and the relation of mind and world. One way to distinguish between beauty theories is according to the conception of the human being that they assume or imply, for example, where they fall on the continuum from determinism to free will, ungrounded notions of compatibilism notwithstanding. For example, theories at the latter end might carve out a sense of genuine innovation and creativity in human endeavours while at the other end of the spectrum authors may conceive of beauty as an environmental trigger for consumption, procreation or preservation in the interests of the individual. Treating beauty experiences as in some respect intentional, characterises beauty theory prior to the twentieth century and since, mainly in historically inspired writing on beauty. On the other hand, treating beauty as affect or sensation has always had its representatives and is most visible today in evolutionary inspired accounts of beauty (though not all evolutionary accounts fit this classification). Beauty theory falls under some combination of metaphysics, epistemology, meta-ethics, aesthetics and psychology. While in the twentieth century beauty was more likely to be conceived as an evaluative concept for art, recent philosophical interest in beauty can again be seen to exercise arguments pertaining to metaphysics, epistemology, meta-ethics, philosophy of meaning and language in addition to philosophy of art and environmental aesthetics. (shrink)