Organizational research constitutes a differentiated, complex and fragmented field with multiple contradicting and incommensurable theories that make fundamentally different claims about the social and organizational reality. In contrast to natural sciences, the progress in this field can’t be attributed to the principle of truthlikeness where theories compete against each other and only best theories survive and prove they are closer to the truth and thus demonstrate scientific knowledge accumulation. We defend the structural realist view on the nature of organizational theories (...) in order to demonstrate that despite the multiplicity of isolated and competing explanations of organization-environment relations these theories are still logically compatible and mutually consistent which, in turn, assures theoretical progress in the field. Although postulating different and incompatible ontologies, three most successful organization-environments theories, namely, contingency theory, new institutionalism and population ecology share the same explanations of the relations between organizations and environments at the structural level. Without this principle one would say that what occurs in the field of organization theory is a change rather than a progress. (shrink)

I offer a theory of art that is based on science. I maintain that, as any other human activity, art can be studied with the tools of science. This does not mean that art is scientific, but aesthetics, the theory of art, can be formulated in accord with our scientific knowledge. I present elucidations of the concepts of aesthetic experience, art, work of art, artistic movement, and I discuss the ontological status of artworks from the point of view of scientific (...) philosophy. (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)

This article deals with the question whether aesthetic considerations affected Einstein in formulating both his theories of relativity. The opinions of philosophers and historians alike are divided on this matter. Thus, Gerald Holton supports the view that Einstein employed aesthetic considerations in formulating his theory of special relativity whereas Jim Shelton opposes it, one of his reasons being that Einstein did not mention such considerations. The other theory, namely, that of general relativity, is discussed by John D. Norton. He asserts (...) that the successful completion of this theory was due to Einstein's adherence to mathematical simplicity resulting from experience, as Einstein himself stated, and not from an aesthetic drive, to which he did not refer. The present work attempts to overcome this deficiency indirectly by investigating Einstein's aesthetic awareness and its consequences for his work. It is found that this awareness was imbedded in his perception of nature and is linked to the criteria (such as simplicity) that guided him in formulating his theories. The conclusion thus reached is that aesthetic considerations did play a role in Einstein's endeavour, contrary to the assertions of Shelton and Norton. (shrink)