Milena Ivanova

Alice Murphy

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.

The Aesthetics of Scientific Experiments

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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.

Duhem and Holism

Steven French

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.

Milena Ivanova

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