源於與美的境遇，本研究者試圖自課程美學的再概念化起，自我釋疑並以思想實驗的模式，揭露美與科學課程間的綢繆難分，進而能據美以觸發科學課程與教學概念上的提升與開展。本研究涉及範疇既有課程美學，又涵攝想像力與科學本質、乃至對科學教育的美學思考，而終於援以國中板塊運動學說的課程為示例，以驗證美學視角之於科學教育，如何可行。
因於美學屬性，故採自我敘說貫串本研究，並將本研究以藝術創作之舉待之。而本研究源於課程與教學實發於互孕的動態歷程，故對二者認知實為一體。藉由引康德判斷力(第三)批判、孔恩典範轉移觀點的思想為骨幹，令研究者自與文獻對話中，可獲致如下結論：
一、 課程具藝術美，而美是人類的需求，具求真致善的驅力。課程與教學之美是變動不居者，其內蘊豐富與有序兼具，是師生視域融合的交互主體性產物；是人主體能力的共工之作，在「無目的之合目的性」中，令探索未知的心理動能不止。
二、 美需藉助想像力穿梭於外顯與內隱情境中，以締造意義；而科學亦復帶有想像屬性的神話基因，有大量的想像性的「概括」臆測，故而科學課程導入想像與美是有合理性者。
三、 自美是引人的對象之觀，故取思孔恩典範轉移觀點，自期課程地圖應自我重構之，以「和而不同」為課程思考核心。另結合本研究中述及之合目的性之三與四重結構，產出一科學理論大論述的課程發展流程，援以為本研究者在其後板塊運動單元教學中的思考原型。
四、 藉助板塊學說鮮明的典範轉移歷程，在「和而不同」的概念下，循上述課程發展流程一一審思。可言藝術美是慎思與講究，在此間本研究者留下思路的原型，以為各界參酌。
美學之於科學課程誠可謂科學教育的新藍海，任何探究點滴可貴，亦值得更多能人投入。

Derived from the encounters with beauty, the researcher aimed to self-resolve doubts, reveal the inherent attachment between beauty and science curriculum, as well as trigger the conceptual promotions and developments of science curriculum and teaching by aesthetics, following an initialization from the reconceptualization of curricular aesthetics. This study got involved in curricular aesthetics, imagination, essence of science, and aesthetic thought of science education, as well as finally exemplifying Plate Tectonics to verify the feasibility of science education oriented in the angle of aesthetic vision.
Because of the attributes of beauty, the researcher adopted self-narrative to deal with the “artistic creation”, this study. The researcher deemed curriculum and teaching as a whole based on the both sides actually resulted from a mutual-conceiving progress. By the backbones from Kant’s “the Critique of Judgement” and Kuhn’s “paradigm shift”, the conclusions derived from the dialogues among the researcher and literature could be the following.
Firstly, with artistic beauty, curriculum is a necessity of the human beings, reinforcing the motivations to purchase truths and virtues. Hence, the beauty in curriculum and teaching are changeable with both richness and order resulted from the teachers and students’ fusions of horizons, a product conceived in intersubjectivities, a co-work of subjective faculties as well. Therefore, beauty continuously inspires the psychological energy to explore the unknown with “purposiveness without a purpose”.
Secondly, beauty originates meanings with the aid of imaginative shuttle between the explicit and implicit contexts. Meanwhile, the introductions of imagination and beauty to science curriculum are reasonable because science inherits mythic genes with imagination to foster imaginatively generalized assumptions.
As for the third, with the viewpoint that beauty is attractive, the researcher imitated the Kuhn’s “paradigm shift” to approve with self-expectation that it is a must to re-map curriculum, clinging to the core idea of “ harmony with dissent”. By an amalgamation with the purposive threefold and fourfold structures mentioned in the study, the researcher originated a set of developing procedures to serve as a thought prototype of Plate Tectonics unit in science curriculum.
Finally, following the procedures of curricular development and the vivid image of paradigm shift unfolded from the Plate Tectonics, the researcher claimed that artistic beauty must be contemplative and fastidious based on the core idea of “ harmony with dissent”. Hence, the researcher composed the thought prototype for readers.
As for science curriculum, aesthetics should be the new Blue Ocean. Every inquiry must be precious, worthy the engagements from more capable educators.