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We place agency front-and-centre in the aesthetics of science via an analysis of experimental design and performance. This first involves developing an account of scientific agency relevant to experiment. We do this via an analogy between experiments and games (as understood by Suits and Nguyen): both involve artificial practical environments designed to enable participants to exercise particular forms of agency. Second, we consider how this account of agency might underwrite an aesthetics of experiment. Experiments are well-designed not only when they generate clear, elegant results, but also when they actively confront the experimenter with experimental phenomena, afford the exercise of agency throughout experimental runs and in iterative design and tweaking, and underlie stable, intersubjective experiences across agents. We apply the account to Newton’s optical work, and contrast this with contemporary experimental practices, where significantly more ‘experimental distance’ holds between the experimenter and the result. Taking the agency of experimental practice seriously enables a richer account of the role of aesthetic values, sensibilities, and judgments in science.

The philosophy of cognitive paleoanthropology involves three related tasks: (1) asking what inferences might be drawn from the paleontological and archaeological records to past cognition, behavior and culture; (2) constructing synthetic accounts of the evolution of distinctive hominin capacities; (3) exploring how results from cognitive paleoanthropology might inform philosophy. We introduce some distinctive cognitive paleoanthropological inferences and discuss their epistemic standing, before considering how attention to the material records and the practice of paleoanthropology can inform and transform philosophical approaches.

Significant work in the philosophy of history has focused on the writing of historiographical narratives, isolated from the rest of what historians do. Taking my cue from the philosophy of science in practice, I suggest that understanding historical narratives as embedded within historical practice more generally is fruitful. I illustrate this by bringing a particular instance of historical practice, Natalie Lawrence’s explanation of the sad fate of Winston the Platypus, into dialogue with some of Louis Mink’s arguments in favour of anti-realism about historical events. Attending to how historians seek out and utilize archival resources puts serious pressure on these arguments, motivates realist positions, and re-focuses the philosophy of history towards making sense of historiography as a part of the diversity of historians’ interests.

Consideration of evidence and data in historical science is dominated by textual metaphor: we reconstruct the past on the basis of various incomplete records. I suggest that although textual metaphors are often apt, they also lead philosophers and scientist to think about historical evidence in particular ways, and that other perspectives might be fruitful. Towards this, I explore the notion of natural historical evidence being thought of as ‘ruins’. This has several potential benefits. First, the architectural aspect of the metaphor emphasizes the contingency of historical subjects and the coherency of design-based reconstruction. Second, historical data, like ruins, are co-constructed, involving intimate interaction with materials.