Revisiting Scientific Revolutions

AlanWinstanley.com  Incandescent Collection

Posted by Thomas Scarborough 

Thomas Kuhn was wrong.  He failed to understand the dynamics of scientific revolutions. Far from such revolutions occurring through an accumulation of evidence – until, so to speak, the dam bursts – they fail to occur until such time as scientific constraints have been weakened – namely, the scientific method.  I shall explain.

In recent generations, we have witnessed a rising awareness of an inter-connected world, and cosmos. One of the results of modern science in particular is the perception that 'everything is related to everything else'.  Yet paradoxically, even at the same time, we find that science requires the very opposite of openness to the totality of things, to survive and to thrive. For science to advance, there is the need for scientific control on the one hand, and a strictly normed language on the other. In the words of Wilhelm Kamlah and Paul Lorenzen, science must 'screen things out'. This applies to all four phases of the scientific method: characterisations, hypotheses, predictions, and experiments.

There is something equally true about science which we typically do not much pay nearly as much attention to. If the scientific method should exert any influence on those potential influences which it excludes, then scientific control is compromised. For instance, if in seeking to establish how much energy is required to convert a kilogram of ice into steam, I find that I am warming the laboratory at the same time, then the procedure is fundamentally flawed. Energy is being lost. We therefore require what I shall call a 'double isolation' in science. Not only does science screen things out, but it needs to screen itself out from its environment.

This 'double isolation' has led historically to two major problems:

Firstly science, having screened itself out from the world, ultimately needs to 're-enter' the world. After the final, experimental stage of the scientific method, with the artificial conditions of the laboratory removed, science begins again to have an effect on the world. Yet little thought is given to what happens at this point. Science, when it re-enters the world, typically goes beyond anything that was formally taken into account in the scientific method. The disasters which have here occurred have led various thinkers to suppose that science is responsible for the ruination of our world. Stephen Hawking puts it simply: science may score an own goal.

Secondly, the isolation of science from the world has resulted in confusion as to how science really advances. The orthodox view is that science advances by and large through an inductive process: by making broad generalisations from specific observations. Yet consider that those specific observations have already followed the procedure of 'screening things out'. That is, such science has already minimised the effects of variables. It has excluded a great many possible relations in order to trace the relations which it does. There is a limit, therefore, to what can be achieved with previous scientific observations, as far as the tracing of relations is concerned.

Not only this. Experience tells us that scientific conjectures are not adequately explained by an inductive method. Here is an example from my own experience, dating from 2004. In that year I came up with a new principle for metal detecting, called coil coupled operation (CCO).  I was already familiar with the transformer coupled oscillator. This is governed by theory which, even in its full complexity, has little or no interest in outside influences on the oscillator. Now consider that such outside influences could include coins beneath the soil, which may change the frequency of the oscillator. In order to turn this into a metal detector, my mind needed to leap outside of the theory, to discover a principle which rested precisely on those influences which the present theory excluded.

Science, therefore, would seem to require not only the inductive method, but something far larger – namely intuition. Albert Einstein wrote, 'Knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.' This has important implications for the scientific method. The inductive method should be taught only as one possible means of doing science – and probably not the best way. Rather, the emphasis should be on a more frenetic and imaginative thinking. This is borne out, among other things, by the fact that many scientists of note were inter-disciplinary or multi-disciplinary in their pursuits – among them Archimedes, Leonardo da Vinci, and Albert Einstein.

On the other hand, science should take account not only of the individual mechanisms which are isolated in controlled experiments. It should deliberately keep track of those mechanisms which are excluded from such control. These may potentially be infinite – yet it is crucial that there be an attempt to list them. No experiment is truly complete until this has been done, and no experimenter has been truly responsible without it. Inconsistently, today, some of our scientific pursuits are systematically regulated and supervised after the final, experimental stage of the scientific method – most notably in the areas of food and drugs – while vast areas remain ill-considered. The scientific method, far from being closed after four stages, should be an open-ended process.

This is intimately connected with the philosophy of scientific revolutions. In the process of 'screening things out', scientists' thinking is constrained. Yet a paradigm shift requires an eye for the wider canvas of relations. Therefore science, through the very scientific method, works to prevent paradigm shifts. However, as a science advances, the need for scientists to 'screen things out' becomes weaker. The work of scientific control has been done, and the ability to think creatively becomes stronger. Rather than paradigm shifts occurring through an accumulation of evidence, they occur where the scientific method is weakened – like a housewife, perhaps, who after kneading her bread, looks up to see the sun rise.

Death and History

Posted by Király István

Death lays the foundations of human history. However, this is only one aspect of death.

Death does not only illuminate the historically articulated human life, so to speak 'externally' — or more precisely, from its end, from an indefinite and aleatory, 'retrospective' point of view, as a foreign and external element — but it continuously interweaves, and what is more, grounds it in its most essential aspects.

To such an extent that history probably exists precisely because there is mortal human life — which is to say, a mortal human being who relates by his life to death, to his being-like-death and mortality — also in a being-like way, and mode of being-like. In other words because there is such a life to which death — its own death — in all respects lends weight, challenge, pressure — grip! — over itself and for itself, and by this a continuous and unavoidable possibility to undertake.

So, the non-human, non-Dasein*-like life which is 'finite', and as such is always born, disappears, passes away, comes into being, extinguishes, changes and evolves ... well, this life actually does not, and cannot have a history — just as the 'inorganic' regions of being have no history in fact, only in a metaphoric sense. Which of course does not mean that this life is not in motion, in change — that it is unrelated with time, or does not 'possess' time with all the processes and 'events', necessary or incidental — in the sense of their happening and references. These of course are also in touch with human history as challenges, meanings and possibilities — which is, when and if there is a questionable meaning or a question referring to meaning. So they have a story, but do not have a history — to the extent that this story of beings devoid of history only becomes — or only can become! — a history of being by history.

In accordance with this reasoning, history exists in fact because there is human death, because there are beings who relate to death — explicitly or implicitly — in and with their being, in and with their mode of being, in a being-like way — for whom death, their own death is not a mere givenness, but — by the way they relate to it — is, in fact, a possibility.

Moreover, it is a possibility which, by its own 'substantive' happening, is dying — precisely by its dying but always beyond it. It is a possibility which derives — and constitutes and structures, articulates, permeates, colours — all of their other modes and possibilities of being. In other words, it opens them up really and truly, structures them open in — and precisely because of — its finitude. And by this, it also lends to these possibilities a well-defined importance, open towards, and from, this finitude, which also leads in fact to the articulation of these modes of being.

If the various modes and regions of human existence — as well as their birth and changes in time — can prove that their very existence, meaning and change is utterly unthinkable and 'absurd' without death, or that death plays a direct or indirect role in their coming into being or changes, then it is also proved that death grounds, originates, and constitutes history in the … essential, ontological sense.


*Dasein is a German word which literally means 'being there' or 'presence'.

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Király V. István is an Associate Professor in the Hungarian Department of Philosophy of the Babes-Bolyai University, Cluj, Romania. This post is an extract selected by the Editors, and slightly adjusted for the purposes of the blog,  from his new book, Death and History.

Doublethink 18 - Eyes of the Universe

 

Index: 426

What Is This Thing Called Beauty?

Posted by Keith Tidman

What is this thing called beauty? Our reflexive first thoughts might turn to people creating paintings, sculptures, dance choreographies, songs, novellas, and the like. Without the imposition of rules that prescribe how beauty should be observed and experienced, and that box it in by formalities and what is ‘correct’, this is the most simple, descriptive account that many of us might give.

More liberal reflection, however, eclipses our first thoughts, to arrive at a far broader, more nuanced description of our perception of beauty. Our aesthetic experiences might encompass images of galaxies and supernovas, deft turns of phrase, powerful metaphors, elegant equations, breakthrough technologies, humour, love, fantasies, theatre, and cultural rituals. Urban and rural landscapes, athletics, architecture, physical pleasure, animals and plants, calligraphy, oceans, and chemical formulas. Food presentation and taste, music, unbroken silence, geometry, alone time, learning, engineered structures, social engagement, serendipitous discovery, and the birthing of new life. Texture, colours, lines, beam of light, laughter, computer code, altruism, photography, imagination – and so much more.

We may turn to more specific examples. Beauty in the eye of the beholder, and rules-free, has included Einstein’s iconic equation e=mc2, the neuronal/synaptic activity of the brain, the three-dimensional structure of C6H12, the human genome, and the problem-solving of the Tianhe-2 supercomputer. Poignant lines from Shakespeare, Kant’s Critique of Pure Reason, Mozart’s Missa da Requiem, and Dante’s Divine Comedy. The aurora borealis, a breaching orca and its calf, Istanbul’s skyline at night, and the Lascaux cave paintings. Melt-in-the-mouth chocolate truffles, Provence in spring, Hohenzollern castle, the Grand Canyon catching sunlight, the vision of alternative world futures, the rich nuances of Indian and African languages – and more.

Since these represent descriptions of our experience of beauty, some will be commonly shared – in some cases globally – while others will be appreciated only through individuals’ cognitive lenses, or through culture’s interventionist hand. Yet others are regarded as examples of beauty by ‘insiders’, who are in one way or another habituated to them through educational training, life experiences, or other uniquely personal circumstances. Yet all these experiences are equally legitimate as descriptions of our perception of beauty – none ascends above the others.

What is it, then, that unites these myriad conceptions of beauty? We may now turn our look inward as it were, to our own personhood – which is epitomised by intelligent consciousness. The aesthetic content of beauty as we have described it rests on the individual: not only on the stimuli being experienced, but influenced by the medium between the source and ourselves, by our senses, and by our human cognition. And while it is yet little understood, our consciousness is key to the experience of aesthetics – although these ‘things’ exist independently, their beauty transitions from what is potential to what is real only by being observed and experienced. Through neuroscience – which is informed by physics, biology, and philosophy – consciousness is bound to play an ever-increasing role in our understanding of the cognitive processes associated with our experiences of beauty.

Meanwhile, ‘personhood’ must be folded, however imperfectly, into the explanation of aesthetic experience. Personhood is definable by a multiplicity of factors – the following being just a few among many: our awareness of our existence, our functionality both apart from and as part of a societal network, our accumulation of experiences from which to learn, our vision of alternative futures for which to strive – in fact, a menagerie of cognitive abilities, such as creative, innovative, imaginative, linguistic, computational, logical, and analytical skills. A religious or secular-humanistic framework for personal experience. As well as emotions, sensory messages that reflect our environment, unbridled and insatiable curiosity, awareness of the arrow of time, abstract questioning of meaning and purpose, intuition, and a sense of destiny.

And so we circle back to the beginning – now being able to correlate descriptions of our perception of beauty with our cognitive apparatus. An appreciation of the ‘elegance’ and precision of mathematics is required – in fact, of the universe – to see the beauty in e=mc2. An appreciation of early people’s linking of art and what they valued for survival is needed, to see the beauty of the Lascaux cave art. An appreciation of how music triggers the release of emotions and flights of imagination is required, to hear the soaring beauty of Mozart’s Missa da Requiem. An understanding of humankind’s magnificent complexity, with all its implications for leapfrogging natural evolution is needed, to see the beauty of the human genome – and so forth.

Everything, then, that ‘personhood’ entails feeds into and gives shape to what we consider sources of aesthetic experience – and how, precisely, we respond to those sources. And it is the magnificent breadth of what constitutes our personhood – encapsulated (in part) by the qualities described – which allows for, and makes sense of, the equally magnificent breadth of all that falls under the rubric of descriptive aesthetics.

What Is This Thing Called Beauty?

Posted by Keith Tidman

What is this thing called beauty? Our reflexive first thoughts might turn to people creating paintings, sculptures, dance choreographies, songs, novellas, and the like. Without the imposition of rules that prescribe how beauty should be observed and experienced, and that box it in by formalities and what is ‘correct’, this is the most simple, descriptive account that many of us might give.

More liberal reflection, however, eclipses our first thoughts, to arrive at a far broader, more nuanced description of our perception of beauty. Our aesthetic experiences might encompass images of galaxies and supernovas, deft turns of phrase, powerful metaphors, elegant equations, breakthrough technologies, humour, love, fantasies, theatre, and cultural rituals. Urban and rural landscapes, athletics, architecture, physical pleasure, animals and plants, calligraphy, oceans, and chemical formulas. Food presentation and taste, music, unbroken silence, geometry, alone time, learning, engineered structures, social engagement, serendipitous discovery, and the birthing of new life. Texture, colours, lines, beam of light, laughter, computer code, altruism, photography, imagination – and so much more.

We may turn to more specific examples. Beauty in the eye of the beholder, and rules-free, has included Einstein’s iconic equation e=mc2, the neuronal/synaptic activity of the brain, the three-dimensional structure of C6H12, the human genome, and the problem-solving of the Tianhe-2 supercomputer. Poignant lines from Shakespeare, Kant’s Critique of Pure Reason, Mozart’s Missa da Requiem, and Dante’s Divine Comedy. The aurora borealis, a breaching orca and its calf, Istanbul’s skyline at night, and the Lascaux cave paintings. Melt-in-the-mouth chocolate truffles, Provence in spring, Hohenzollern castle, the Grand Canyon catching sunlight, the vision of alternative world futures, the rich nuances of Indian and African languages – and more.

Since these represent descriptions of our experience of beauty, some will be commonly shared – in some cases globally – while others will be appreciated only through individuals’ cognitive lenses, or through culture’s interventionist hand. Yet others are regarded as examples of beauty by ‘insiders’, who are in one way or another habituated to them through educational training, life experiences, or other uniquely personal circumstances. Yet all these experiences are equally legitimate as descriptions of our perception of beauty – none ascends above the others.

What is it, then, that unites these myriad conceptions of beauty? We may now turn our look inward as it were, to our own personhood – which is epitomised by intelligent consciousness. The aesthetic content of beauty as we have described it rests on the individual: not only on the stimuli being experienced, but influenced by the medium between the source and ourselves, by our senses, and by our human cognition. And while it is yet little understood, our consciousness is key to the experience of aesthetics – although these ‘things’ exist independently, their beauty transitions from what is potential to what is real only by being observed and experienced. Through neuroscience – which is informed by physics, biology, and philosophy – consciousness is bound to play an ever-increasing role in our understanding of the cognitive processes associated with our experiences of beauty.

Meanwhile, ‘personhood’ must be folded, however imperfectly, into the explanation of aesthetic experience. Personhood is definable by a multiplicity of factors – the following being just a few among many: our awareness of our existence, our functionality both apart from and as part of a societal network, our accumulation of experiences from which to learn, our vision of alternative futures for which to strive – in fact, a menagerie of cognitive abilities, such as creative, innovative, imaginative, linguistic, computational, logical, and analytical skills. A religious or secular-humanistic framework for personal experience. As well as emotions, sensory messages that reflect our environment, unbridled and insatiable curiosity, awareness of the arrow of time, abstract questioning of meaning and purpose, intuition, and a sense of destiny.

And so we circle back to the beginning – now being able to correlate descriptions of our perception of beauty with our cognitive apparatus. An appreciation of the ‘elegance’ and precision of mathematics is required – in fact, of the universe – to see the beauty in e=mc2. An appreciation of early people’s linking of art and what they valued for survival is needed, to see the beauty of the Lascaux cave art. An appreciation of how music triggers the release of emotions and flights of imagination is required, to hear the soaring beauty of Mozart’s Missa da Requiem. An understanding of humankind’s magnificent complexity, with all its implications for leapfrogging natural evolution is needed, to see the beauty of the human genome – and so forth.

Everything, then, that ‘personhood’ entails feeds into and gives shape to what we consider sources of aesthetic experience – and how, precisely, we respond to those sources. And it is the magnificent breadth of what constitutes our personhood – encapsulated (in part) by the qualities described – which allows for, and makes sense of, the equally magnificent breadth of all that falls under the rubric of descriptive aesthetics.

Picture Post No.12: Critical Eyes

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

Alice Seeley Harris, missionary, photographer and campaigner with a group of Congolese children, early 1900s.  Photo credit Anti-Slavery International

A group of Congolese children and Mrs. Seeley Harris all pose in a pyramid geometry and look towards us. In doing so, their bodies seem to animate a question and hand a voice to us. Perhaps this is why this photograph obviously from another age moves beyond being material evidence to become an inexorable happening. Our voices still try to formulate that question today.

These children embody the rich properties hidden into the soil they inhabit. The presence of the white woman accentuates this intuition being dressed in the middle of the children, as if ‘their clothes’ lay underneath the earth. What for these children is not essential, others might think of as indispensable.

The relation between these children and Mrs. Harris is critical. We might end up striving for the same cause but this is already a movement upon effects. When violence is related to law, justice cannot be achieved within a law preserved by violence. These children represent an entire population that got identified as a working force. Violently estranged from their culture, is it still possible to see out of one’s own eyes?

With more then a century in the middle between them and us, we are left with a riddle:

A century conceals more truth than a day, though every day carries with it a millennium of falsehoods.

Who are we then, today?

Doublethink 17 - Line World

 

Index: 421

Doublethink 17 - Line World

Index: 421

On ‘No Explanation’

A new poem by Chengde Chen which also marks the occasion of the first ‘birthday’ of the blog

Note from the Editors

Today marks the first birthday of the re-launched Philosophical Investigations (affectionately known as Pi)

In this first year of blogging, Pi has established itself alongside the top-rated philosophy blogs worldwide, which represents a modest popularity – and attracted strong ideas and good writing. Pi has been fairly unique in its emphasis, too – in two respects. Firstly, it has widened the compass of philosophy, including reflection on issues made through philosophical poems and images. Secondly, it has sought philosophy, rather than philosophers.

In its first year, Pi has featured essays by thinkers from a wide variety of backgrounds, among them a judge, a monk, a CEO, an architect, a police chief, and many more. This has resulted in a rich mix of ideas: for instance, that inequality has to do with replication, that the 'will to power' is found in the ordinary moments of life, that political science may be controlled by experiences not our own, that the purpose of reason is to flag contradictions, and that strength is found in shared weakness.

As a radical project – that aspires to be not merely philosophical, not merely political, nor even just 'educational' -  but to be entertaining – it is hoped that Pi will continue to growand provide an alternative, more democratic kind of blogging. 

‘No Explanation’

Not understanding a text, you ask the author to explain.
He refers to some other words, and you thank him.
But, if these words can deliver the meaning better,
shouldn’t they have been used in the first place?

If the author says, “Sorry, I don’t explain.
This, and only this, means what I mean,”
you may find it intolerably arrogant, but
why should what a clear expression is be polluted?

There are writings that are so proper and accurate
that only they themselves can represent themselves.
There are also needs for such precision, e.g.
putting a law in other words may deform justice.

Words can be precise because thoughts can.
Thoughts can be purified and purified like water.
When writing reaches the state of “no explanation”,
it is water that can’t be washed by water.

Chengde Chen is the author of Five Themes of Today: philosophical poems. Readers can find out more about Chengde and his poems here 

The Thing-in-Itself

By Thomas Scarborough

Benjamin Lee Whorf, the American linguist, made a puzzling observation which, for no patent reason, has held our fascination for nearly eighty years. Whorf wrote it briefly, in simple language:

'Around a storage of what are called 'gasoline (petrol) drums', behavior will tend to a certain type, that is, great care will be exercised; while around a storage of what are called 'empty gasoline drums' it will tend to be different-careless, with little repression of smoking or of tossing cigarette stubs about. Yet the 'empty' drums are perhaps the more dangerous, since they contain explosive vapor.'

Whorf, I here suggest, had stumbled upon the core problem of the thing-in-itself, and with that, the core problem of the thinking of our entire Western civilisation. The interpretation of the thing-in-itself is not critical here.  It is sufficient to understand it most simply as any 'object of inquiry'. Let us begin at the beginning.

First, the Scottish philosopher David Hume observed that all knowledge may be subdivided into relations of ideas on the one hand, and matters of fact on the other. That is, one begins with a handful of facts (which includes objects), and these facts stand in a certain relation to one another.

This view has remained engraved on metaphysicians' minds ever since. Generations later, Bertrand Russell wrote that many philosophers, following Immanuel Kant, have maintained that relations are the work of the mind, and that things-in-themselves have no relations. While this is not to say exactly the same, the thought is not far from Hume's.

A marble is a thing. A house is a thing. Even gravity, ideology, taxonomy are things (we call them constructs), which may in turn be related to other things. In a sense, even a unicorn is a 'thing', although one is unlikely ever to find one. Of course, our 'things' may not be exactly the same as we perceive them – but the point will be clear.

Things-in-themselves are not, of course, facts. They first need to be involved in what we call truth conditions – which is, they need to be inserted into statements. Then one may affirm or deny such statements, which is an essential condition of facts. For example, we insert the thing 'marble' into a statement: 'A marble sinks' – or the thing 'unicorn': 'The Scots keep unicorns.'

On the surface of it, our world is filled with such facts: 'There's a car,' 'A bird has wings,' or 'The square of the hypotenuse is equal to the sum of the squares of the other two sides.'

But there is a mistake. There are no things, there are no objects, and therefore there are no facts. Hume got it wrong, and so did every philosopher since. One finds only relations. The mind is incapable of comprehending anything else. No mind can ever settle on a 'thing' alone.

Someone might object: 'But this is a coffee cup, and that's a fact!' But is it really? Take away the table on which the coffee cup rests, and what does one have? One has a coffee cup which rests on nothing.  If we ever found such a thing, we would marvel that it exists.  One would have scientists queuing up at the door to see it.  Further, the table, on which the coffee cup rests, stands on the floor, and this in turn rests on the earth, and so on.

The same is true if we down-scale our thinking as it were. Supposing that we should say, 'This coffee cup has a handle.' The same applies. We have to have a mind for a whole world of relations to be able to speak of a handle.

We never worried about this much – before the publication of Samuel Johnson's great dictionary of 1755.  But since then, our 'things' have been defined, and they have been defined (if implicitly) as things-in-themselves. But this they are not, as we have seen.

This now promises to explain Benjamin Whorf's puzzlement over the dangerous way in which people went about with empty petrol drums, and our continuing fascination with the same today. We have come to see petrol drums today as things-in-themselves, without the obvious relations in which they are involved.

One might wonder at the possible significance of it all. Quite simply, when we speak of the world today, our language causes us to view it as people viewed Whorf's petrol drums, namely, as a profusion of things-in-themselves.  Yet we deal with things far more dangerous than petrol drums.