50 ideas
| 17405 | If a theory can be fudged, so can observations [Scerri] |
| Full Idea: A theorist may have designed his theory to fit the facts, but is it not equally possible for observers to be influenced by a theory in their report of experimental facts? | |
| From: Eric R. Scerri (The Periodic Table [2007], 05 'Power') | |
| A reaction: This is in reply to Lipton's claim that prediction is better than accommodation because of the 'fudging' problem. The reply is that you might fudge to achieve a prediction. If it was correct, that wouldn't avoid the charge of fudging. |
| 17397 | The periodic system is the big counterexample to Kuhn's theory of revolutionary science [Scerri] |
| Full Idea: The history of the periodic system appears to be the supreme counterexample to Kuhn's thesis, whereby scientific developments proceed in a sudden, revolutionary fashion. | |
| From: Eric R. Scerri (The Periodic Table [2007], 03 'Rapid') | |
| A reaction: What is lovely about the periodic table is that it seems so wonderfully right, and hence no revolution has ever been needed. The big theories of physics and cosmology are much more precarious. |
| 17393 | Scientists eventually seek underlying explanations for every pattern [Scerri] |
| Full Idea: Whenever scientists are presented with a useful pattern or system of classification, it is only a matter of time before the begin to ask whether there may be some underlying explanation for the pattern. | |
| From: Eric R. Scerri (The Periodic Table [2007], Intro 'Evol') | |
| A reaction: Music to my ears, against the idea that the sole aim of science is accurately describe the patterns. |
| 17403 | The periodic table suggests accommodation to facts rates above prediction [Scerri] |
| Full Idea: Rather than proving the value of prediction, the development and acceptance of the periodic table may give us a powerful illustration of the importance of accommodation, that is, the ability of a new scientific theory to explain already known facts. | |
| From: Eric R. Scerri (The Periodic Table [2007], 05 'Intro') | |
| A reaction: The original table made famous predictions, but also just as many wrong ones (Scerri:143), and Scerri thinks this aspect has been overrated. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 6012 | We must choose in which of the virtues we wish to excel [Panaetius] |
| Full Idea: Humans have four roles in life, of which the fourth involves choices, of career, and of the virtue in which one wishes to excel. | |
| From: Panaetius (fragments/reports [c.145 BCE]), quoted by Elizabeth Asmis - Panaetius | |
| A reaction: Panaetius strikes me as exceptionally wise. A big gap in Aristotle is the fact that we cannot excel in all virtues, and that therefore some choice is required. By what criteria? We have the Gauguin problem (excel in one, disgraceful in the others). |
| 6013 | Panaetius said we should live according to our natural starting-points [Panaetius, by Asmis] |
| Full Idea: Panaetius reformulated the Stoic goal as living in accordance with the starting-points given to us by nature. | |
| From: report of Panaetius (fragments/reports [c.145 BCE]) by Elizabeth Asmis - Panaetius | |
| A reaction: This sounds remarkably like the substitution of meritocratic equality of opportunity for communistic actual equality. In other words, it doesn't sound very Stoic. 'Live according to nature' implies more restraint than this ambitious version. |
| 6014 | Panaetius identified courage with great-mindedness, preferring civic courage to military [Panaetius, by Asmis] |
| Full Idea: Panaetius recast the virtue of courage as 'greatmindedness' (Aristotle's paramount virtue), he demoted military valour and gave priority to courage displayed in civic life. | |
| From: report of Panaetius (fragments/reports [c.145 BCE]) by Elizabeth Asmis - Panaetius | |
| A reaction: I find this very appealing, as I am increasingly horrified by our denigration of the people who implement our democracy for us. We urgently need to get back to the Greek idea of civic virtue, and this idea of Panaetius should be widely promulgated. |
| 17394 | Natural kinds are what are differentiated by nature, and not just by us [Scerri] |
| Full Idea: Natural kinds are realistic scientific entities that are differentiated by nature itself rather than by our human attempts at classification. | |
| From: Eric R. Scerri (The Periodic Table [2007], Intro 'Evol') |
| 17421 | If elements are natural kinds, might the groups of the periodic table also be natural kinds? [Scerri] |
| Full Idea: Elements defined by their atomic numbers are frequently assumed to represent 'natural kinds' in chemistry. ...The question arises as to whether groups of elements appearing in the periodic table might also represent natural kinds. | |
| From: Eric R. Scerri (The Periodic Table [2007], 10 'Elements') | |
| A reaction: Scerri says the distinction is not as sharp as that between the elements. As a realist, he believes there is 'one ideal periodic classification', which would then make the periods into kinds. |
| 17396 | The colour of gold is best explained by relativistic effects due to fast-moving inner-shell electrons [Scerri] |
| Full Idea: Many seemingly mundane properties of elements such as the characteristic color of gold ....can best be explained by relativistic effects due to fast-moving inner-shell electrons. | |
| From: Eric R. Scerri (The Periodic Table [2007], 01 'Under') | |
| A reaction: John Locke - I wish you were reading this! That we could work out the hidden facts of gold, and thereby explain and predict the surface properties we experience, is exactly what Locke thought to be forever impossible. |
| 17420 | The stability of nuclei can be estimated through their binding energy [Scerri] |
| Full Idea: The stability of nuclei can be estimated through their binding energy, a quantity given by the difference between their masses and the masses of their constituent particles. | |
| From: Eric R. Scerri (The Periodic Table [2007], 10 'Stabil') |
| 17411 | If all elements are multiples of one (of hydrogen), that suggests once again that matter is unified [Scerri] |
| Full Idea: The work of Moseley and others rehabilitated Prout's hypothesis that all elements were composites of hydrogen, being exact multiples of 1. ..This revitalized some philososophical notions of the unity of all matter, criticised by Mendeleev and others. | |
| From: Eric R. Scerri (The Periodic Table [2007], 06 'Philos') |
| 17407 | The electron is the main source of chemical properties [Scerri] |
| Full Idea: It is the electron that is mainly responsible for the chemical properties of the elements. | |
| From: Eric R. Scerri (The Periodic Table [2007], 06 'Intro') |
| 17415 | A big chemistry idea is that covalent bonds are shared electrons, not transfer of electrons [Scerri] |
| Full Idea: One of the most influential ideas in modern chemistry is of a covalent bond as a shared pair of electrons (not as transfer of electrons and the formation of ionic bonds). | |
| From: Eric R. Scerri (The Periodic Table [2007], 08 'Intro') | |
| A reaction: Gilbert Newton Lewis was responsible for this. |
| 17392 | How can poisonous elements survive in the nutritious compound they compose? [Scerri] |
| Full Idea: A central mystery of chemistry is how the elements survive in the compounds they form. For example, how can poisonous grey metal sodium combine with green poisonous gas chlorine, to make salt, which is non-poisonous and essential for life? | |
| From: Eric R. Scerri (The Periodic Table [2007], Intro 'Elem') | |
| A reaction: A very nice question which had never occurred to me. If our digestive system pulled the sodium apart from the chlorine, we would die. |
| 17391 | Periodicity and bonding are the two big ideas in chemistry [Scerri] |
| Full Idea: The two big ideas in chemistry are chemical periodicity and chemical bonding, and they are deeply interconnected. | |
| From: Eric R. Scerri (The Periodic Table [2007], Intro 'Per') |
| 17404 | Chemistry does not work from general principles, but by careful induction from large amounts of data [Scerri] |
| Full Idea: Unlike in physics, chemical reasoning does not generally proceed unambiguously from general principles. It is a more inductive science in which large amounts of observational data must be carefully weighed. | |
| From: Eric R. Scerri (The Periodic Table [2007], 05 'Mendel') | |
| A reaction: This is why essentialist thinking was important for Mendeleev, because it kept his focus on the core facts beneath the messy and incomplete data. |
| 17409 | Does radioactivity show that only physics can explain chemistry? [Scerri] |
| Full Idea: Some authors believe that the interpretation of the properties of the elements passed from chemistry to physics as a result of the discovery of radioactivity. ...I believe this view to be overly reductionist. | |
| From: Eric R. Scerri (The Periodic Table [2007], 06 'Radio') | |
| A reaction: It is all a matter of the explanations, and how far down they have to go. If most non-radiocative chemistry doesn't need to mention the physics, then chemistry is largely autonomous. |
| 17418 | It is now thought that all the elements have literally evolved from hydrogen [Scerri] |
| Full Idea: The elements are now believed to have literally evolved from hydrogen by various mechanisms. | |
| From: Eric R. Scerri (The Periodic Table [2007], 10 'Evol) |
| 17398 | 19th C views said elements survived abstractly in compounds, but also as 'material ingredients' [Scerri] |
| Full Idea: In the 19th century abstract elements were believed to be permanent and responsible for observed properties in compounds, but (departing from Aristotle) they were also 'material ingredients', thus linking the metaphysical and material realm. | |
| From: Eric R. Scerri (The Periodic Table [2007], 04 'Nature') | |
| A reaction: I'm not sure I can make sense of this gulf between the metaphysical and the material realm, so this was an account heading for disaster. |
| 17406 | Moseley, using X-rays, showed that atomic number ordered better than atomic weight [Scerri] |
| Full Idea: By using X-rays, Henry Moseley later discovered that a better ordering principle for the periodic system is atomic numbers rather than atomic weight, by subjecting many different elements to bombardment. | |
| From: Eric R. Scerri (The Periodic Table [2007], 06 'Intro') | |
| A reaction: Moseley was killed in the First World War at the age of 26. It is interesting that they more or less worked out the whole table, before they discovered the best principle on which to found it. |
| 17408 | Some suggested basing the new periodic table on isotopes, not elements [Scerri] |
| Full Idea: Some chemists even suggested that the periodic table would have to be abandoned in favor of a classification system that included a separate place for every single isotope. | |
| From: Eric R. Scerri (The Periodic Table [2007], 06 'Intro') | |
| A reaction: The extreme case is tin, which has 21 isotopes, so is tin a fundamental, or is each of the isotopes a fundamental? Does there have to be a right answer to that? All tin isotopes basically react in the same way, so we stick with the elements table. |
| 17412 | Elements are placed in the table by the number of positive charges - the atomic number [Scerri] |
| Full Idea: The serial number of an element in the periodic table, its atomic number, corresponds to the number of positive charges in the atom. | |
| From: Eric R. Scerri (The Periodic Table [2007], 07 'Models') | |
| A reaction: Note that this is a feature of the nucleus, despite that fact that the electrons decide the chemical properties. A nice model for Locke's views on essentialism. |
| 17413 | Elements in the table are grouped by having the same number of outer-shell electrons [Scerri] |
| Full Idea: The modern notion is that atoms fall into the same group of the periodic table if they possess the same numbers of outer-shell electrons. | |
| From: Eric R. Scerri (The Periodic Table [2007], 07 'Quantum') | |
| A reaction: Scerri goes on to raise questions about this, on p.242. By this principle helium should be an alkaline earth element, but it isn't. |
| 17416 | Orthodoxy says the periodic table is explained by quantum mechanics [Scerri] |
| Full Idea: The prevailing reductionist climate implies that quantum mechanics inevitably provides a more fundamental explanation for the periodic system. | |
| From: Eric R. Scerri (The Periodic Table [2007], 08 'Concl') | |
| A reaction: Scerri has argued that chemists did much better than physicists in working out how the outer electron shells of atoms worked, by induction from data, rather than inference from basic principles. |
| 17414 | Pauli explained the electron shells, but not the lengths of the periods in the table [Scerri] |
| Full Idea: Pauli explained the maximum number of electrons successive shells can accommodate, ...but it does not explain the lengths of the periods, which is the really crucial property of the periodic table. | |
| From: Eric R. Scerri (The Periodic Table [2007], 07 'Pauli') | |
| A reaction: Paulis' Exclusion Principle says no two electrons in an atom can have the same set of four quantum numbers. He added 'spin' as a fourth number. It means 'electrons cannot be distinguished' (243). Scerri says the big problem is still not fully explained. |
| 17410 | Moseley showed the elements progress in units, and thereby clearly identified the gaps [Scerri] |
| Full Idea: Moseley's work showed that the successive elements in the periodic table have an atomic number greater by one unit. The gaps could then be identified definitively, as 43, 61, 72, 75, 85, 87, and 91. | |
| From: Eric R. Scerri (The Periodic Table [2007], 06 'Henry') | |
| A reaction: [compressed] |
| 17395 | Elements were ordered by equivalent weight; later by atomic weight; finally by atomic number [Scerri] |
| Full Idea: Historically, the ordering of elements across periods was determined by equivalent weight, then later by atomic weight, and eventually by atomic number. | |
| From: Eric R. Scerri (The Periodic Table [2007], 01 'React') | |
| A reaction: So they used to be ordered by quantities (measured by real numbers), but eventually were ordered by unit items (counted by natural numbers). There need to be distinct protons (unified) to be counted. |
| 17422 | The best classification needs the deepest and most general principles of the atoms [Scerri] |
| Full Idea: An optimal classification can be obtained by identifying the deepest and most general principles that govern the atoms of the elements. | |
| From: Eric R. Scerri (The Periodic Table [2007], 10 'Continuum') | |
| A reaction: He adds (p.286) that the best system will add the 'greatest degree of regularity' to these best principles. |
| 17419 | Since 99.96% of the universe is hydrogen and helium, the periodic table hardly matters [Scerri] |
| Full Idea: All the elements other than hydrogen and helium make up just 0.04% of the universe. Seen from this perspective, the periodic table appears to rather insignificant. | |
| From: Eric R. Scerri (The Periodic Table [2007], 10 'Astro') |
| 17417 | To explain the table, quantum mechanics still needs to explain order of shell filling [Scerri] |
| Full Idea: The order of shell filling has not yet been deduced from first principles, and this issue cannot be avoided if one is to really ask whether quantum mechanics explains the periodic system in a fundamental manner. | |
| From: Eric R. Scerri (The Periodic Table [2007], 09 'From') |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |
| 5888 | Souls are born, since they are sensitive and inherited, so they must perish [Panaetius, by Cicero] |
| Full Idea: Panaetius says that whatever is born must perish, and souls are clearly born, as shown by the resemblance of children to their parents in disposition as well as body; also, anything sensible of pain is susceptible to sickness, and hence perishes. | |
| From: report of Panaetius (fragments/reports [c.145 BCE]) by M. Tullius Cicero - Tusculan Disputations I.xxxii | |
| A reaction: These seem to be rather good arguments. If we actually observe what someone's soul is like (through character) it seems rooted in a family and culture, and it certainly seems susceptible to disease. An empirical approach. |