141
" How often people speak of art and science as though they were two entirely different things, with no interconnection. An artist is emotional, they think, and uses only his intuition; he sees all at once and has no need of reason. A scientist is cold, they think, and uses only his reason; he argues carefully step by step, and needs no imagination. That is all wrong. The true artist is quite rational as well as imaginative and knows what he is doing; if he does not, his art suffers. The true scientist is quite imaginative as well as rational, and sometimes leaps to solutions where reason can follow only slowly; if he does not, his science suffers. "
― Isaac Asimov , The Roving Mind
145
" To satisfy our doubts . . . it is necessary that a method should be found by which our beliefs may be determined by nothing human, but by some external permanency -- by something upon which our thinking has no effect. . . . Our external permanency would not be external, in our sense, if it was restricted in its influence to one individual. It must be something which affects, or might affect, every man. And, though these affections are necessarily as various as are individual conditions, yet the method must be such that the ultimate conclusion of every man shall be the same. Such is the method of science. Its fundamental hypothesis, restated in more familiar language, is this: There are Real things, whose characters are entirely independent of our opinions about them; those Reals affect our senses according to regular laws, and, though our sensations are as different as are our relations to the objects, yet, by taking advantage of the laws of perception, we can ascertain by reasoning how things really and truly are; and any man, if he have sufficient experience and he reason enough about it, will be led to the one True conclusion. The new conception here involved is that of Reality. It may be asked how I know that there are any Reals. If this hypothesis is the sole support of my method of inquiry, my method of inquiry must not be used to support my hypothesis. The reply is this: 1. If investigation cannot be regarded as proving that there are Real things, it at least does not lead to a contrary conclusion; but the method and the conception on which it is based remain ever in harmony. No doubts of the method, therefore, necessarily arise from its practice, as is the case with all the others. 2. The feeling which gives rise to any method of fixing belief is a dissatisfaction at two repugnant propositions. But here already is a vague concession that there is some one thing which a proposition should represent. Nobody, therefore, can really doubt that there are Reals, for, if he did, doubt would not be a source of dissatisfaction. The hypothesis, therefore, is one which every mind admits. So that the social impulse does not cause men to doubt it. 3. Everybody uses the scientific method about a great many things, and only ceases to use it when he does not know how to apply it. 4. Experience of the method has not led us to doubt it, but, on the contrary, scientific investigation has had the most wonderful triumphs in the way of settling opinion. These afford the explanation of my not doubting the method or the hypothesis which it supposes; and not having any doubt, nor believing that anybody else whom I could influence has, it would be the merest babble for me to say more about it. If there be anybody with a living doubt upon the subject, let him consider it. "
146
" In the first case it emerges that the evidence that might refute a theory can often be unearthed only with the help of an incompatible alternative: the advice (which goes back to Newton and which is still popular today) to use alternatives only when refutations have already discredited the orthodox theory puts the cart before the horse. Also, some of the most important formal properties of a theory are found by contrast, and not by analysis. A scientist who wishes to maximize the empirical content of the views he holds and who wants to understand them as clearly as he possibly can must therefore introduce other views; that is, he must adopt a pluralistic methodology. He must compare ideas with other ideas rather than with 'experience' and he must try to improve rather than discard the views that have failed in the competition. Proceeding in this way he will retain the theories of man and cosmos that are found in Genesis, or in the Pimander, he will elaborate them and use them to measure the success of evolution and other 'modern' views. He may then discover that the theory of evolution is not as good as is generally assumed and that it must be supplemented, or entirely replaced, by an improved version of Genesis. Knowledge so conceived is not a series of self-consistent theories that converges towards an ideal view; it is not a gradual approach to truth. It is rather an ever increasing ocean of mutually incompatible alternatives, each single theory, each fairy-tale, each myth that is part of the collection forcing the others in greater articulation and all of them contributing, via this process of competition, to the development of our consciousness. Nothing is ever settled, no view can ever be omitted from a comprehensive account. Plutarch or Diogenes Laertius, and not Dirac or von Neumann, are the models for presenting a knowledge of this kind in which the history of a science becomes an inseparable part of the science itself - it is essential for its further development as well as for giving content to the theories it contains at any particular moment. Experts and laymen, professionals and dilettani, truth-freaks and liars - they all are invited to participate in the contest and to make their contribution to the enrichment of our culture. The task of the scientist, however, is no longer 'to search for the truth', or 'to praise god', or 'to synthesize observations', or 'to improve predictions'. These are but side effects of an activity to which his attention is now mainly directed and which is 'to make the weaker case the stronger' as the sophists said, and thereby to sustain the motion of the whole. "
― Paul Karl Feyerabend , Against Method
148
" His habit of reading isolated him: it became such a need that after being in company for some time he grew tired and restless; he was vain of the wider knowledge he had acquired from the perusal of so many books, his mind was alert, and he had not the skill to hide his contempt for his companions' stupidity. They complained that he was conceited; and, since he excelled only in matters which to them were unimportant, they asked satirically what he had to be conceited about. He was developing a sense of humour, and found that he had a knack of saying bitter things, which caught people on the raw; he said them because they amused him, hardly realising how much they hurt, and was much offended when he found that his victims regarded him with active dislike. The humiliations he suffered when he first went to school had caused in him a shrinking from his fellows which he could never entirely overcome; he remained shy and silent. But though he did everything to alienate the sympathy of other boys he longed with all his heart for the popularity which to some was so easily accorded. These from his distance he admired extravagantly; and though he was inclined to be more sarcastic with them than with others, though he made little jokes at their expense, he would have given anything to change places with them. "
― W. Somerset Maugham , Of Human Bondage
149
" Fiction can show you a different world. It can take you somewhere you've never been. Once you've visited other worlds, like those who ate fairy fruit, you can never be entirely content with the world that you grew up in. Discontent is a good thing: discontented people can modify and improve their worlds, leave them better, leave them different.And while we're on the subject, I'd like to say a few words about escapism. I hear the term bandied about as if it's a bad thing. As if " escapist" fiction is a cheap opiate used by the muddled and the foolish and the deluded, and the only fiction that is worthy, for adults or for children, is mimetic fiction, mirroring the worst of the world the reader finds herself in.If you were trapped in an impossible situation, in an unpleasant place, with people who meant you ill, and someone offered you a temporary escape, why wouldn't you take it? And escapist fiction is just that: fiction that opens a door, shows the sunlight outside, gives you a place to go where you are in control, are with people you want to be with(and books are real places, make no mistake about that); and more importantly, during your escape, books can also give you knowledge about the world and your predicament, give you weapons, give you armour: real things you can take back into your prison. Skills and knowledge and tools you can use to escape for real.As JRR Tolkien reminded us, the only people who inveigh against escape are jailers. "
157
" Surrendering: The act of giving yourself entirely to a new self, and then let go of your personal freedom for the achievement of something greater than you had before, a new you, a new self, envisioned and designed by yourself. Surrendering, to a God or to a Dream, or to both, is the ultimate act of designing your new future and then letting go the present reality to live that dream. It is, indeed, the creation of a virtual reality in which one will find himself present, after detaching from the previous reality, which will then become virtual by default. Because, as one cannot surrender without accepting, one cannot get without letting go. And so, when one surrenders entirely, he becomes entirely new. "
― Robin Sacredfire
