35 ideas
| 22358 | Scientific objectivity lies in inter-subjective testing [Popper] |
| Full Idea: The objectivity of scientific statements lies in the fact that they can be inter-subjectively tested. | |
| From: Karl Popper (The Logic of Scientific Discovery [1934], p.22), quoted by Reiss,J/Spreger,J - Scientific Objectivity 2.4 | |
| A reaction: Does this mean that objectivity is the same as consensus? A bunch of subjective prejudiced fools can reach a consensus. And in the middle of that bunch there can be one person who is objecfive. Sounds wrong. |
| 11946 | Propensities are part of a situation, not part of the objects [Popper] |
| Full Idea: Propensities should not be regarded as inherent in an object, such as a die or a penny, but should be regarded as inherent in a situation (of which, of course, the object was part). | |
| From: Karl Popper (A World of Propensities [1993], p.14), quoted by George Molnar - Powers 6.2 | |
| A reaction: Molnar argues against this claim, and I agree with him. We can see why Popper might prefer this relational view, given that powers often only become apparent in unusual relational situations. |
| 12177 | Human artefacts may have essences, in their purposes [Popper] |
| Full Idea: One might adopt the view that certain things of our own making, such as clocks, may well be said to have 'essences', viz. their 'purposes', and what makes them serve these purposes. | |
| From: Karl Popper (Conjectures and Refutations [1963], 3.3 n17) | |
| A reaction: This is from one of the arch-opponents of essentialism. Could we take him on a slippery slope into essences for evolved creatures, or their organs? His argument says admitting an essence for a clock prevents using it for another purpose. |
| 5451 | Popper felt that ancient essentialism was a bar to progress [Popper, by Mautner] |
| Full Idea: Karl Popper vehemently rejected the essentialism which underpins Plato and Aristotle, taking it to be a major obstacle to political, moral and scientific progress. | |
| From: report of Karl Popper (Open Society and Its Enemies:Hegel and Marx [1945]) by Thomas Mautner - Penguin Dictionary of Philosophy p.179 | |
| A reaction: This makes Popper sound like an existentialist, which seems unlikely. Modern essentialism would say the opposite about science - that hunting for external imposed laws is a red herring, and we should try to understand essences. |
| 22188 | Give Nobel Prizes for really good refutations? [Gorham on Popper] |
| Full Idea: Popper implies that we should be giving Nobel Prizes to scientists who use severe tests to show us what the world is not like! | |
| From: comment on Karl Popper (The Logic of Scientific Discovery [1934]) by Geoffrey Gorham - Philosophy of Science 2 | |
| A reaction: A lovely simple point. The refuters are important members of the scientific team, but not the leaders. |
| 18284 | Particulars can be verified or falsified, but general statements can only be falsified (conclusively) [Popper] |
| Full Idea: Whereas particular reality statements are in principle completely verifiable or falsifiable, things are different for general reality statements: they can indeed be conclusively falsified, they can acquire a negative truth value, but not a positive one. | |
| From: Karl Popper (Two Problems of Epistemology [1932], p.256), quoted by J. Alberto Coffa - The Semantic Tradition from Kant to Carnap 18 'Laws' | |
| A reaction: This sounds like a logician's approach to science, but I prefer to look at coherence, where very little is actually conclusive, and one tinkers with the theory instead. |
| 7780 | Falsification is the criterion of demarcation between science and non-science [Popper, by Magee] |
| Full Idea: According to Popper, falsification is the criterion of demarcation between science and non-science. | |
| From: report of Karl Popper (The Logic of Scientific Discovery [1934]) by Bryan Magee - Popper Ch.3 | |
| A reaction: If I propose something which might be falsified in a hundred years, is it science NOW? Suppose my theory appeared to be falsifiable, but (after much effort) it turned out not to be? Suppose I just see a pattern (like quark theory) in a set of facts? |
| 16830 | We don't only reject hypotheses because we have falsified them [Lipton on Popper] |
| Full Idea: Popper's mistake is to hold that disconfirmation and elimination work exclusively through refutation. | |
| From: comment on Karl Popper (The Logic of Scientific Discovery [1934]) by Peter Lipton - Inference to the Best Explanation (2nd) 05 'Explanation' | |
| A reaction: The point is that we reject hypotheses even if they have not actually been refuted, on the grounds that they don't give a good explanation. I agree entirely with Lipton. |
| 6794 | If falsification requires logical inconsistency, then probabilistic statements can't be falsified [Bird on Popper] |
| Full Idea: In Popper's sense of the word 'falsify', whereby an observation statement falsifies a hypothesis only by being logically inconsistent with it, nothing can ever falsify a probabilistic or statistical hypothesis, which is therefore unscientific. | |
| From: comment on Karl Popper (The Logic of Scientific Discovery [1934]) by Alexander Bird - Philosophy of Science Ch.5 | |
| A reaction: In general, no prediction can be falsified until the events occur. This seems to be Aristotle's 'sea fight' problem (Idea 1703). |
| 6795 | When Popper gets in difficulties, he quietly uses induction to help out [Bird on Popper] |
| Full Idea: It is a feature of Popper's philosophy that when the going gets tough, induction is quietly called upon to help out. | |
| From: comment on Karl Popper (The Logic of Scientific Discovery [1934]) by Alexander Bird - Philosophy of Science Ch.5 | |
| A reaction: This appears to be the central reason for the decline in Popper's reputation as the saviour of science. It would certainly seem absurd to say that you know nothing when you have lots of verification but not a glimmer of falsification. |
| 3856 | Good theories have empirical content, explain a lot, and are not falsified [Popper, by Newton-Smith] |
| Full Idea: Popper's principles are roughly that one theory is superior to another if it has greater empirical content, if it can account for the successes of the first theory, and if it has not been falsified (unlike the first theory). | |
| From: report of Karl Popper (The Logic of Scientific Discovery [1934]) by W.H. Newton-Smith - The Rationality of Science I.6 |
| 7779 | There is no such thing as induction [Popper, by Magee] |
| Full Idea: According to Popper, induction is a dispensable concept, a myth. It does not exist. There is no such thing. | |
| From: report of Karl Popper (The Logic of Scientific Discovery [1934]) by Bryan Magee - Popper Ch.2 | |
| A reaction: This is a nice bold summary of the Popper view - that falsification is the underlying rational activity which we mistakenly think is verification by repeated observations. Put like this, Popper seems to be wrong. We obviously learn from experiences. |
| 3860 | Science cannot be shown to be rational if induction is rejected [Newton-Smith on Popper] |
| Full Idea: If Popper follows Hume in abandoning induction, there is no way in which he can justify the claims that there is growth of scientific knowledge and that science is a rational activity. | |
| From: comment on Karl Popper (The Logic of Scientific Discovery [1934]) by W.H. Newton-Smith - The Rationality of Science III.3 |
| 12176 | Science does not aim at ultimate explanations [Popper] |
| Full Idea: I contest the essentialist doctrine that science aims at ultimate explanations, one which cannot be further explained, and which is in no need of any further explanation. | |
| From: Karl Popper (Conjectures and Refutations [1963], 3.3) | |
| A reaction: If explanations are causal, this seems to a plea for an infinite regress of causes, which is an odd thing to espouse. Are the explanations verbal descriptions or things in the world. There can be no perfect descriptions, but there may be ultimate things. |
| 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. |
| 20239 | Unlike us, the early Greeks thought envy was a good thing, and hope a bad thing [Hesiod, by Nietzsche] |
| Full Idea: Hesiod reckons envy among the effects of the good and benevolent Eris, and there was nothing offensive in according envy to the gods. ...Likewise the Greeks were different from us in their evaluation of hope: one felt it to be blind and malicious. | |
| From: report of Hesiod (works [c.700 BCE]) by Friedrich Nietzsche - Dawn (Daybreak) 038 | |
| A reaction: Presumably this would be understandable envy, and unreasonable hope. Ridiculous envy can't possibly be good, and modest and sensible hope can't possibly be bad. I suspect he wants to exaggerate the relativism. |
| 12175 | Galilean science aimed at true essences, as the ultimate explanations [Popper] |
| Full Idea: The third of the Galilean doctrines of science is that the best, the truly scientific theories, describe the 'essences' or the 'essential natures' of things - the realities which lie behind the appearances. They are ultimate explanations. | |
| From: Karl Popper (Conjectures and Refutations [1963], 3.3) | |
| A reaction: This seems to be the seventeenth century doctrine which was undermined by Humeanism, and hence despised by Popper, but is now making a comeback, with a new account of essence and necessity. |
| 12179 | Essentialist views of science prevent further questions from being raised [Popper] |
| Full Idea: The essentialist view of Newton (due to Roger Cotes) ...prevented fruitful questions from being raised, such as, 'What is the cause of gravity?' or 'Can we deduce Newton's theory from a more general independent theory?' | |
| From: Karl Popper (Conjectures and Refutations [1963], 3.3) | |
| A reaction: This is Popper's main (and only) objection to essentialism - that it is committed to ultimate explanations, and smugly terminates science when it thinks it has found them. This does not strike me as a problem with scientific essentialism. |
| 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? |