The Ethics of Belief (1877), The Limits Of Inference
Context: p>We may believe what goes beyond our experience, only when it is inferred from that experience by the assumption that what we do not know is like what we know. We may believe the statement of another person, when there is reasonable ground for supposing that he knows the matter of which he speaks, and that he is speaking the truth so far as he knows it.It is wrong in all cases to believe on insufficient evidence; and where it is presumption to doubt and to investigate, there it is worse than presumption to believe.</p
“You well know … for which reason I began searching for a number of demonstrations proving a statement due to the ancient Greeks … and which passion I felt for the subject … so that you reproached me my preoccupation with these chapters of geometry, not knowing the true essence of these subjects, which consists precisely in going in each matter beyond what is necessary. … Whatever way he [the geometer] may go, through exercise will he be lifted from the physical to the divine teachings, which are little accessible because of the difficulty to understand their meaning … and because the circumstance that not everybody is able to have a conception of them, especially not the one who turns away from the art of demonstration.”
Book on the Finding of Chords.
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Al-Biruni 14
Persian scholar and polymath 973–1048Related quotes
Letter to Marin Mersenne (July 27, 1638) as quoted by Florian Cajori, A History of Mathematics (1893) letter dated in The Philosophical Writings of Descartes Vol. 3, The Correspondence (1991) ed. John Cottingham, Robert Stoothoff, Dugald Murdoch
“It is precisely what he does not know which may destroy him.”
X magazine (1959-62)
Context: The Art of painting is itself an intensely personal activity. It may be labouring the obvious to say so but it is too little recognised in art journalism now that a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object. It is judged by the painter simply as a success or failure without qualification. And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.
Kant's Inaugural Dissertation (1770), Section III On The Principles Of The Form Of The Sensible World
Source: Jack of Shadows (1971), Chapter 6 (p. 62)
Source: 2003, Treason : Liberal Treachery from the Cold War to the War on Terrorism (2003), p. 6.