BEAUTY
AND SCIENTIFIC TRUTH
Boris
Zakharov
Abstract.
The article analyzes the origin of the process of evaluation of the
truthfulness of the theory of the natural sciences. The practice or
experimental evaluation cannot satisfy fundamental science. This
dissatisfaction originates from: 1) eternal incompleteness of human practice;
2) impossibility of experimental evaluation in some natural sciences; and 3)
significantly faster advancing of the science theory compare with it practical
application. Author believes that the internal reason for research inquiry and
falsification of scientific theory lies in the realm of the scientific
aesthetic and the beauty is a fundamental criterion of the truthfulness of the
scientific theory.
Key
words: beauty, truth, harmony, organization.
The truthfulness of scientific knowledge is a crucial question
for the philosophy of science. It is not a surprise that this question was
interesting for all generations of scientists from ancient time till present days.
This question becomes especially important during the turning points of the
scientific development. Very often one hears that the practice is a criterion
of the truthfulness of our knowledge. However, there are a set of
considerations that put this point of view in a doubt. On one hand, it depends
on the incompleteness of our knowledge and our practice. On the other hand, it
is connected with anticipation of a faster growth of the theoretical knowledge
in comparison with the practical usage. Thirdly, there is a very particular
scientific aesthetic, which dictates scientists the direction of the study and
the most preferable way of the presenting results of the study. Finally, the
statement that the practice is a criterion of the truthfulness of the scientific
theory contains a tautology. According this view, the scientific knowledge is
growing through the practice and may be falsified (or verified) also only
through its practical application. This “vicious circle” cannot generate
positive knowledge, because it does not give us a chance of testing the
truthfulness of the scientific theory. To break out this circle, the positive
scientific knowledge has to: 1) have the origin other than practice; or 2) be
tested by other means then practice.
Human practice is and always will be incomplete. It
cannot embrace the whole totality of Universe, and, because of that, our
knowledge cannot attain the whole truth. Moreover, this incompleteness
presupposes that forever unfinished knowledge may give rise to many (at least
one alternative) different scientific theories. The fundamental science is
characterized by a rapid anticipation of the development of the theory compare
with its experimental proof and practical application. In some scientific
disciplines, such as astrophysics, for example, the most general and
fundamental theories cannot be proved experimentally at all. Nevertheless,
these theories are accepted by the scientific society and they have their
supporters and developers.
Thus, the practical criterion of scientific truth if it
is not false, at least has serious restrictions in an application. Tarski made
a conclusion, presented in a logical theorem: The universal criterion of the
scientific truth does not exist (Traski, 1933; 1944; 1969). However, as was
noted by Popper, the absence of the criterion of the truth does not convert the
idea of truth into nonsense, like the absence of the criterion of the health
does not make the health a senseless idea (Popper, 1963). Beside other limits,
the usage of practical criterion of the scientific truth demonstrates a very
negative tendency by reduces scientific study to exclusively empirical
collecting of data without aspiration toward theoretical thought. The idea of
the principal ability of the mankind to understand the world contains an
inevitable recognition of its organization. Only organized world can be studied.
Kant put it in statement: The world is not chaos, but it is cosmos (Kant,
1838). This presupposes that the law of harmony is really embedded in a
diversity of real material objects and they may play a role of an explicit
principle of the scientific enquiry.
The idea of beauty, as other universal concepts, is not
arbitrary. It reflects some fundamental principles of the organization of the
world. The law of harmony discovered by Pythagoras, the color contrast, etc.
are reflection of some eternal true relations of the real world. The intuition
of this lawful organization and the feeling of the “internal beauty” creates a
comfort or discomfort that scientist takes into consideration, when one deals
with this or that scientific theory. That is why we can hear such words as:
“this is a very beautiful (elegant, gracious, etc.) idea”, or “this theory
looks awkward”.
The beauty has many definitions, most of which stem from
ancient times. Other definitions appear recently. The definition of beauty that
is ascribed to Plato and Pythagoras who identify the beauty as a strong
coordinated harmony of all parts united by the whole entity (Xenophon, 1994).
The other way to define this concept is of Socrates and Aristotle lineage:
“Everything is good and beautiful in relation to that for which it best fit” (Xenophon,
1994). The philosophy of enlightenment continues this tradition. Diderot wrote
that the perception of relation is a foundation of beauty (Diderot, 1995). One
ramification of the definition of the beauty that originated from the Plato’s
tradition states that beauty is a reflection of the eternal divine entity,
which emerges through the material world. The fundamental characteristics of
the divine entity are unity, absoluteness, internal harmony presented in
proportion and accordance, clearance and simplicity (Plotinus, 2003).
A great diversity of publications on beauty gives many
other definitions. For us, the most important that most of them in one or
another form contain some common characteristics of the beauty, such as:
- Truth
- Harmony
- Unity
- Proportions
- Simplicity
- Purposefulness
- Value
The
aim of science is a study of the relations between phenomena. Heisenberg formulated it in this way:
“…understanding never is something else but the realization of the existence of
connections, i.e. uniting properties…” (Heisenberg, 1971). Only “beautiful” and
“harmonious” theoretical constructs can motivate scientists on a new study. The
feeling of the beauty of the world is the driving force of scientific study,
inspiring thinkers of the past as well as scientists of the present time.
The
feeling of the beauty of the world and the truthfulness of the theory that
explains its organization is the internal measure with which we evaluate every
theory or hypothesis. Only “beautiful” and “harmonious” theoretical
generalizations are able to stimulate a new study. The feeling of the beauty of
the world is a driving force of research that inspires the thinkers of the old
time and modern scientists. If we are stay on the position of the principal
understandability of the world, than we have to agree about the lawful
organization of this world. The world is organized systematically and this
presupposes that the principles of the harmony are embedded in the total
diversity of natural entities (Lubischew, 1977).
Harmony,
wholeness and accordance are ideas, which essentially can be expressed in the
formal language of the mathematics. Mathematics describes phenomena in their
relations through ratio and magnitude. Thus, mathematical description reflects
harmony of the world; and that is why the Mathematical Aesthetic plays such
important role in this science. Rephrasing the Latin proverb, we can say:
“Initium scentia est admiratio”.
Our
understanding of beautiful is contemporary. It is in a continuous process of
development. Thus, the criterion of the truthfulness of the scientific
knowledge is also in a constant evolutionary process. This development of the
concept of beauty represents relativity of our knowledge and its inheritance.
Thus, the feeling of beauty of the world and harmony of the theory that
explains its construction is that internal measure according to which every
hypothesis or theory is evaluated as truthful. The falsification of the
scientific theory, from this point of view, consists of the search of the
disharmony among its parts and the whole, and violation of the wholeness of the
theory.
This criterion is much broader than the criterion of the
practice and opens new opportunities for the thinking mind. One can evaluate
the most abstract and difficult for experimental examination theories. As far
as the understanding of beauty has a transitional character and is in a
constant process of development, our understanding of the truth changes in time
too. In this development of the idea of beauty consists relative to our
knowledge and its heritage through the history of humanity. It is necessary to
note that usage of this criterion of the truth changes the fundamental
direction of scientific inquiry. On the other hand, specialists on Aesthetics
knew that despite the relative, transient nature of the idea of harmony, there
always remains something unchangeable in its core. This suggests that criterion
of harmony is not arbitrary. The science shifts its interests from the field of
the creation of practically significant theories toward the search of the
harmony of the world. It is that harmony which inspired the great thinkers such
as Copernicus, Kepler, Newton, Einstein and others. In this case the meaning of
the scientific inquiry is similar to the understanding of the world through the
art. The difference between the art and science is only in the methods of
inquiry. Arts study the world through individual, subjective intuition and are
very personal; whereas, science tries to formalize man’s intuition and create
objective picture of the world. Thus, different tools are developed. Art
develops toward deeper unrolling of intuition. Science develops toward drawing
most universal concepts. But both are doing that by means of symbolic
description of the world.
Thank for the in-depth post. You hit some themes and ideas that I know from similar sources (Godel and the undecidability theorem) and modern art's appropriation of the uncertainty of quantum theory. What I find illuminating here in your post is that the dialogue between art and science has been going on for quite a while -- it's interesting that at this point in history, digital humanities seems to 'solve' the tension between The Two Cultures, but you're very right to point out connections that have been underway for a long while in cultural and scientific history. (Although artists and writers seldom get the science right, there are numerous examples of a dialogue of inspiration drawn from scientific developments.) Last, regarding scientific truth, did you see this article from the New York Times on the difficulties in replicating some scientific studies: http://nyti.ms/KxpWQ0 ?
ReplyDeleteThank you very much for article. As a matter of fact, there are number of theories that cannot be verified (or falsified, if you wish), at least now.
ReplyDelete