Vol. 2, Ch. 13, § 160
Parerga and Paralipomena (1851), Counsels and Maxims
Context: Suicide may also be regarded as an experiment — a question which man puts to Nature, trying to force her to answer. The question is this: What change will death produce in a man’s existence and in his insight into the nature of things? It is a clumsy experiment to make; for it involves the destruction of the very consciousness which puts the question and awaits the answer.
As quoted in: Ṭhānissaro (Bhikkhu.) (2004) Handful of leaves. Vol. 3, p. 80
Source: Scientific Autobiography and Other Papers (1949)
Context: Experimenters are the schocktroops of science… An experiment is a question which science poses to Nature, and a measurement is the recording of Nature’s answer. But before an experiment can be performed, it must be planned – the question to nature must be formulated before being posed. Before the result of a measurement can be used, it must be interpreted – Nature’s answer must be understood properly. These two tasks are those of theorists, who find himself always more and more dependent on the tools of abstract mathematics.
Part 3: "The Sense of Human Dignity", §3 (p. 56) <!-- I find this cited in several places but not actually quoted in full anywhere. -->
Science and Human Values (1956, 1965)
Context: Positivists and analysts alike believe that the words is and ought belong to different worlds, so that sentences which are constructed with is usually have verifiable meaning, but sentences constructed with ought never have. This is because Ludwig Wittgenstein's unit, and Bertrand Russell's unit, is one man; all British empiricist philosophy is individualist. And it is of course clear that if the only criterion of true and false which a man accepts is that man's, then he has no base for social agreement. The question of how man ought to behave is a social question, which always involves several people; and if he accepts no evidence and no judgment except his own, he has no tools with which to frame an answer.
"Introduction" of Four Screenplays (1960). <!-- Simon & Schuster -->
Context: When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.
John R. Platt (1964). Cited in: William M. Block, M. Dale Strickland, Bret A. Collier, Markus J. Peterson (2008) Wildlife Study Design. Springer. p. 20 among other places.
[Charles Vernon Boys, Soap-bubbles and the forces which mould them: Being a course of three lectures delivered in the theatre of the London institution on the afternoons of Dec. 30, 1889, Jan. 1 and 3, 1890, before a juvenile audience, Society for promoting Christian knowledge, 1896, 11]
(XIV.3) Del Rey, p. 472
Blade of Tyshalle (2001)
