Theorists Quotes

Authors: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Categories: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
theorists-can-be-wrong-only-nature-is-always-right
too-many-theorists-have-tendency-to-ignore-facts-that-contradict-their-convictions-maurice-allais
the-most-reckless-treacherous-all-theorists-is-he-who-professes-to-let-facts-figures-speak-for-themselves-alfred-marshall
people-will-keep-on-taking-them-for-theorists-when-all-they-wanted-was-to-paint-in-gay-bright-colours-like-old-masters-pierreauguste-renoir
theorists-can-create-all-sorts-theories-which-go-beyond-standard-model-but-theres-not-one-bit-experimental-evidence-to-point-out-which-way-you-should-go
waiting-for-conspiracy-theorists-to-tell-truth-is-little-like-leaving-frontporch-light-on-for-jimmy-hoffa-vincent-bugliosi
its-numbers-like-these-that-both-bubbletheorists-market-cheerleaders-can-pounce-on-to-make-their-points-reality-is-more-mundane-prentice-marshall
game-theorists-analyze-negotiations-as-if-they-were-split-pie-games-involving-selfish-players
as-far-as-design-theorists-are-concerned-theistic-evolution-is-american-evangelicalisms-illconceived-accommodation-to-darwinism-william-a-dembski
niels-bohr-brainwashed-whole-generation-theorists-into-thinking-that-job-interpreting-quantum-theory-was-done-50-years-ago-murray-gellmann
those-emotive-theorists-who-said-that-function-moral-utterance-was-to-evince-emotion-would-have-been-correct-if-they-had-substituted-indefinite-for-alasdair-macintyre
i-think-modern-educational-theorists-are-inclined-to-attach-too-much-importance-to-negative-virtue-not-interfering-with-children-too-little-to-bertrand-russell
the-kyoto-theorists-have-put-cart-before-horse-it-is-global-warming-that-triggers-higher-levels-carbon-dioxide-in-atmosphere-not-other-way-round-andrey-kapitsa
prior-to-early-1960s-economic-theorists-rarely-constructed-models-customized-to-capture-unique-institutions-specific-market-characteristics
whether-ice-caps-melt-expand-whatever-happens-anthropogenic-global-warming-theorists-claim-it-confirms-their-theory-a-perfect-example-pseudo-science-like-astrology
as-now-string-theorists-have-no-explanation-why-there-are-three-large-dimensions-as-well-as-time-other-dimensions-are-microscopic-proposals-about-edward-witten
early-on-i-got-some-criticism-from-other-gay-writers-queer-theorists-for-being-too-assimilationist-probably-because-my-characters-are-outsiders-even-in-gay-world
some-string-theorists-prefer-to-believe-that-string-theory-is-too-arcane-to-be-understood-by-human-beings-rather-than-consider-possibility-that-it-might-just-be-wrong-lee-smolin
it-was-at-this-moment-that-i-wrote-my-first-important-paper-in-theoretical-physics-i-was-32-years-old-5-years-beyond-alleged-age-senility-for-theorists
i-understand-that-postmodern-literature-probably-means-people-like-delillo-the-fiction-collective-but-i-dont-get-it-that-those-writers-are-really-kathy-acker
theorists-have-wonderful-ideas-which-take-years-years-to-be-verified
holocaust-denial-once-preserve-fringe-conspiracy-theorists-has-mutated-into-holocaust-obfuscation-equivocation-specious-comparison-on-larger-scale-than-ever
most-internet-business-theorists-are-really-looking-at-preserving-necks-giant-fortune-500-companies-rather-than-promoting-digital-peertopeer-douglas-rushkoff
i-have-yet-to-meet-famous-rational-economic-man-theorists-describe-real-people-have-always-done-inexplicable-things-from-time-to-time-they-show-no-charles-s-sanford
in-its-first-30-years-existence-up-to-mid-1970s-practical-applications-game-theory-were-limited-probably-as-result-excessive-preoccupation-by-game-theorists-with-cooperative-solu
number-theorists-say-that-number-theory-is-too-complicated-lets-pretend-that-there-is-only-one-prime-number-then-lets-combine-all-these-results-saharon-shelah
economic-theorists-should-not-make-such-production-about-taking-rabbit-out-hat-after-having-put-rabbit-into-hat-in-full-view-audience-joan-robinson
shut-up-do-not-think-all-theorists-agree-shut-up-keep-words-from-being-said-and-all-scars-will-remain-invisible-all-scars-will-remain-under-skin-where-they-belong-alice-hoffman
To establish evolutionary interrelatedness invariably requires exhibiting similarities between organisms. Within Darwinism, there's only one way to connect such similarities, and that's through descent with modification driven by the Darwinian mechanism. But within a design-theoretic framework, this possibility, though not precluded, is also not the only game in town. It's possible for descent with modification instead to be driven by telic processes inherent in nature (and thus by a form of design). Alternatively, it's possible that the similarities are not due to descent at all but result from a similarity of conception, just as designed objects like your TV, radio, and computer share common components because designers frequently recycle ideas and parts. Teasing apart the effects of intelligent and natural causation is one of the key questions confronting a design-theoretic research program. Unlike Darwinism, therefore, intelligent design has no immediate and easy answer to the question of common descent. Darwinists necessarily see this as a bad thing and as a regression to ignorance. From the design theorists' perspective, however, frank admissions of ignorance are much to be preferred to overconfident claims to knowledge that in the end cannot be adequately justified. Despite advertisements to the contrary, science is not a juggernaut that relentlessly pushes back the frontiers of knowledge. Rather, science is an interconnected web of theoretical and factual claims about the world that are constantly being revised and for which changes in one portion of the web can induce radical changes in another. In particular, science regularly confronts the problem of having to retract claims that it once confidently asserted.

William A. Dembski
to-establish-evolutionary-interrelatedness-invariably-requires-exhibiting-similarities-between-organisms-within-darwinism-theres-only-one-way-to-connect-such-similarities-thats-t
The television commercial has mounted the most serious assault on capitalist ideology since the publication of Das Kapital. To understand why, we must remind ourselves that capitalism, like science and liberal democracy, was an outgrowth of the Enlightenment. Its principal theorists, even its most prosperous practitioners, believed capitalism to be based on the idea that both buyer and seller are sufficiently mature, well informed and reasonable to engage in transactions of mutual self-interest. If greed was taken to be the fuel of the capitalist engine, the surely rationality was the driver. The theory states, in part, that competition in the marketplace requires that the buyer not only knows what is good for him but also what is good. If the seller produces nothing of value, as determined by a rational marketplace, then he loses out. It is the assumption of rationality among buyers that spurs competitors to become winners, and winners to keep on winning. Where it is assumed that a buyer is unable to make rational decisions, laws are passed to invalidate transactions, as, for example, those which prohibit children from making contracts... Of course, the practice of capitalism has its contradictions... But television commercials make hash of it... By substituting images for claims, the pictorial commercial made emotional appeal, not tests of truth, the basis of consumer decisions. The distance between rationality and advertising is now so wide that it is difficult to remember that there once existed a connection between them. Today, on television commercials, propositions are as scarce as unattractive people. The truth or falsity of an advertiser's claim is simply not an issue. A McDonald's commercial, for example, is not a series of testable, logically ordered assertions. It is a drama-a mythology, if you will-of handsome people selling, buying and eating hamburgers, and being driven to near ecstasy by their good fortune. No claim are made, except those the viewer projects onto or infers from the drama. One can like or dislike a television commercial, of course. But one cannot refute it.

Neil Postman
the-television-commercial-has-mounted-most-serious-assault-on-capitalist-ideology-since-publication-das-kapital-to-understand-why-we-must-remind-ourselves-that-capitalism-like-sc
Language as a Prison The Philippines did have a written language before the Spanish colonists arrived, contrary to what many of those colonists subsequently claimed. However, it was a language that some theorists believe was mainly used as a mnemonic device for epic poems. There was simply no need for a European-style written language in a decentralized land of small seaside fishing villages that were largely self-sufficient. One theory regarding language is that it is primarily a useful tool born out of a need for control. In this theory written language was needed once top-down administration of small towns and villages came into being. Once there were bosses there arose a need for written language. The rise of the great metropolises of Ur and Babylon made a common written language an absolute necessity-but it was only a tool for the administrators. Administrators and rulers needed to keep records and know names- who had rented which plot of land, how many crops did they sell, how many fish did they catch, how many children do they have, how many water buffalo? More important, how much then do they owe me? In this account of the rise of written language, naming and accounting seem to be language's primary "civilizing" function. Language and number are also handy for keeping track of the movement of heavenly bodies, crop yields, and flood cycles. Naturally, a version of local oral languages was eventually translated into symbols as well, and nonadministrative words, the words of epic oral poets, sort of went along for the ride, according to this version. What's amazing to me is that if we accept this idea, then what may have begun as an instrument of social and economic control has now been internalized by us as a mark of being civilized. As if being controlled were, by inference, seen as a good thing, and to proudly wear the badge of this agent of control-to be able to read and write-makes us better, superior, more advanced. We have turned an object of our own oppression into something we now think of as virtuous. Perfect! We accept written language as something so essential to how we live and get along in the world that we feel and recognize its presence as an exclusively positive thing, a sign of enlightenment. We've come to love the chains that bind us, that control us, for we believe that they are us (161-2).

David Byrne
language-as-prison-the-philippines-did-have-written-language-before-spanish-colonists-arrived-contrary-to-what-many-those-colonists-subsequently-claimed-however-it-was-language-t
It happens that in our phase of civility, the novel is the central form of literary art. It lends itself to explanations borrowed from any intellectual system of the universe which seems at the time satisfactory. Its history is an attempt to evade the laws of what Scott called 'the land of fiction'-the stereotypes which ignore reality, and whose remoteness from it we identify as absurd. From Cervantes forward it has been, when it has satisfied us, the poetry which is 'capable, ' in the words of Ortega, 'of coping with present reality.' But it is a 'realistic poetry' and its theme is, bluntly, 'the collapse of the poetic' because it has to do with 'the barbarous, brutal, mute, meaningless reality of things.' It cannot work with the old hero, or with the old laws of the land of romance; moreover, such new laws and customs as it creates have themselves to be repeatedly broken under the demands of a changed and no less brutal reality. 'Reality has such a violent temper that it does not tolerate the ideal even when reality itself is idealized.' Nevertheless, the effort continues to be made. The extremest revolt against the customs or laws of fiction-the antinovels of Fielding or Jane Austen or Flaubert or Natalie Sarraute-creates its new laws, in their turn to be broken. Even when there is a profession of complete narrative anarchy, as in some of the works I discussed last week, or in a poem such as Paterson, which rejects as spurious whatever most of us understand as form, it seems that time will always reveal some congruence with a paradigm-provided always that there is in the work that necessary element of the customary which enables it to communicate at all. I shall not spend much time on matters so familiar to you. Whether, with Luke¡cs, you think of the novel as peculiarly the resolution of the problem of the individual in an open society-or as relating to that problem in respect of an utterly contingent world; or express this in terms of the modern French theorists and call its progress a necessary and 'unceasing movement from the known to the unknown'; or simply see the novel as resembling the other arts in that it cannot avoid creating new possibilities for its own future-however you put it, the history of the novel is the history of forms rejected or modified, by parody, manifesto, neglect, as absurd. Nowhere else, perhaps, are we so conscious of the dissidence between inherited forms and our own reality. There is at present some good discussion of the issue not only in French but in English. Here I have in mind Iris Murdoch, a writer whose persistent and radical thinking about the form has not as yet been fully reflected in her own fiction. She contrasts what she calls 'crystalline form' with narrative of the shapeless, quasi-documentary kind, rejecting the first as uncharacteristic of the novel because it does not contain free characters, and the second because it cannot satisfy that need of form which it is easier to assert than to describe; we are at least sure that it exists, and that it is not always illicit. Her argument is important and subtle, and this is not an attempt to restate it; it is enough to say that Miss Murdoch, as a novelist, finds much difficulty in resisting what she calls 'the consolations of form' and in that degree damages the 'opacity, ' as she calls it, of character. A novel has this (and more) in common with love, that it is, so to speak, delighted with its own inventions of character, but must respect their uniqueness and their freedom. It must do so without losing the formal qualities that make it a novel. But the truly imaginative novelist has an unshakable 'respect for the contingent'; without it he sinks into fantasy, which is a way of deforming reality. 'Since reality is incomplete, art must not be too afraid of incompleteness, ' says Miss Murdoch. We must not falsify it with patterns too neat, too inclusive; there must be dissonance.

Frank Kermode
it-happens-that-in-our-phase-civility-novel-is-central-form-literary-art-it-lends-itself-to-explanations-borrowed-from-any-intellectual-system-universe-which-seems-at-time-satisf
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