Article ID: CBB001201299

Inseparable Impulses: The Science and Aesthetics of Ernst Haeckel and Charley Harper (2013)

unapi

This article examines the role of aesthetics in scientific argument by analyzing two images. The first, from Ernst Haeckel's Art Forms in Nature (1904), depicts 15 bats evenly spaced on a white field. The second, Charley Harper's Darwin's Finches (1961), shows 13 finches, similarly displayed. Although these two images may at first appear to have little in common, they both present a specific interpretation of Darwin's theories using visual language. This article argues that the act of representation and scientific theory are inextricably intertwined.

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Authors & Contributors
Richards, Robert John
Levita, Georgy S.
Hossfeld, Uwe
Ries, Christopher Jacob
Morton, Marsha
Di Gregorio, Mario A.
Journals
Interdisciplinary Science Reviews
NTM: Zeitschrift für Geschichte der Naturwissenschaften, Technik und Medizin
American Catholic Philosophical Quarterly
Archives of Natural History
Filosofia e História da Biologia
Almagest
Publishers
Northwestern University
University of Colorado at Boulder
University of Chicago
University of Chicago Press
University of Minnesota Press
Concepts
Evolution
Darwinism
Science and art
Visual representation; visual communication
Biology
Aesthetics
People
Haeckel, Ernst
Plate, Ludwig Hermann
Heilmann, Gerhard
Gegenbaur, Carl
Poincaré, Jules Henri
Brueghel, Jan the Elder
Places
Germany
Denmark
Greece
Belgium
United States
Vienna (Austria)
Times
19th century
20th century, early
20th century, late
21st century
Early modern
17th century
Institutions
Panepistēmio Athēnōn
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