21 ideas
| 22189 | Why abandon a theory if you don't have a better one? [Gorham] |
| Full Idea: There is no sense in abandoning a successful theory if you have nothing to replace it with. | |
| From: Geoffrey Gorham (Philosophy of Science [2009], 2) | |
| A reaction: This is also a problem for infererence to the best explanation. What to do if your best explanation is not very good? The simple message is do not rush to dump a theory when faced with an anomaly. |
| 22190 | If a theory is more informative it is less probable [Gorham] |
| Full Idea: Popper's theory implies that more informative theories seem to be less probable. | |
| From: Geoffrey Gorham (Philosophy of Science [2009], 3) | |
| A reaction: [On p.75 Gorham replies to this objection] The point is that to be more testable they must be more detailed. He's not wrong. Theories are meant to be general, so they sweep up the details. But they need precise generalities and specifics. |
| 22192 | Is Newton simpler with universal simultaneity, or Einstein simpler without absolute time? [Gorham] |
| Full Idea: Is Newton's theory simpler than Einstein's, since there is only one relation of simultaneity in absolute time, or is Einstein's simpler because it dispenses with absolute time altogether? | |
| From: Geoffrey Gorham (Philosophy of Science [2009], 4) | |
| A reaction: A nice question, to which a good scientist might be willing to offer an answer. Since simultaneity is crucial but the existence of time is not, I would vote for Newton as the simpler. |
| 22194 | Structural Realism says mathematical structures persist after theory rejection [Gorham] |
| Full Idea: Structural Realists say that modern science achieves a true or 'truer' account of the world only with respect to its mathematical structure rather than its intrinsic qualities or nature. The structure carries over to new theories. | |
| From: Geoffrey Gorham (Philosophy of Science [2009], 4) | |
| A reaction: At first glance I am unconvinced that when an old theory is replaced it neverthess contains some sort of 'mathematical structure' which endures and is worth preserving. No doubt Worrall, French and co have examples. |
| 22195 | Structural Realists must show the mathematics is both crucial and separate [Gorham] |
| Full Idea: Structural Realists must show that it is the mathematical aspects of the theories, not their content, that account for their success ….and that their structure and content can be clearly separated. | |
| From: Geoffrey Gorham (Philosophy of Science [2009], 4) | |
| A reaction: Their approach certainly seems to rely on mathematical types of science, so it presumably fits biology, geology and even astronomy less well. |
| 22197 | Theories aren't just for organising present experience if they concern the past or future [Gorham] |
| Full Idea: The strangeness of interpreting theories as mere tools for organising present experience is brought out clearly in sciences like cosmology and paleontology, which largely concern events in the remote past or future. | |
| From: Geoffrey Gorham (Philosophy of Science [2009], 4) | |
| A reaction: Not conclusive. An anti-realist has to interpret those sciences in terms of the current observations that are available. |
| 22196 | For most scientists their concepts are not just useful, but are meant to be true and accurate [Gorham] |
| Full Idea: The main difficulty with instrumentalism is its implausible account ot the meaning of theoretical claims and concepts. Most scientists take them to be straightforward attempts to describe the world. Most say they are useful because they are accurate. | |
| From: Geoffrey Gorham (Philosophy of Science [2009], 4) | |
| A reaction: Instrumentalism is seen as a Pragmatist view, and Dewey is cited. |
| 22193 | Consilience makes the component sciences more likely [Gorham] |
| Full Idea: The more unification and integration is found among the modern sciences, the less likely it seems it will have all been a dream. | |
| From: Geoffrey Gorham (Philosophy of Science [2009], 4) | |
| A reaction: I believe this strongly. Ancient theories which were complex, wide ranging and false do not impress me. This is part of my coherence view of justification. |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |
| 22198 | Aristotelian physics has circular celestial motion and linear earthly motion [Gorham] |
| Full Idea: Aristotelian physics assumed that celestial motion is naturally circular and eternal while terrestrial motion is naturally toward the center of the earth and final. | |
| From: Geoffrey Gorham (Philosophy of Science [2009], 4) | |
| A reaction: The overthrow of this by Galileo and then Newton may have been the most dramatic revolution of the new science. It opened up the possibility of universal laws of physics. |
| 1513 | The Egyptians were the first to say the soul is immortal and reincarnated [Herodotus] |
| Full Idea: The Egyptians were the first to claim that the soul of a human being is immortal, and that each time the body dies the soul enters another creature just as it is being born. | |
| From: Herodotus (The Histories [c.435 BCE], 2.123.2) |