A Quote by Angus Deaton
A good theoretical account must explain all of the evidence that we see. If it doesn't work everywhere, we have no idea what we are talking about, and all is chaos.
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Whichever theory we adopt to give a rational explanation of human existence, that theory must take into account and explain the mental nature we see at work in all modern communities.
The whole point of building theoretical systems is to explain what humans know by pre-theoretical experience. That is the starting point for any philosophy. That is the data it seeks to explain. If it fails to explain the data of experience, then it has failed the test. It has been falsified.
An eyewitness account is evidence that an artist has proposed a work of art. But documentary evidence (i.e. a photograph) is more conclusive.
Everywhere, within man and without, there is devastation, instability, chaos, and evidence of some prolonged rout.
There are some millennial artists that I totally get and understand, and I know what they're talking about. People who I've worked with and who I'd like to work with. But there's a whole element of artists that I can't explain what they're talking about.
You cannot explain to someone who comes with no idea of what you are talking about without being misunderstood.
Therefore psychologically we must keep all the theories in our heads, and every theoretical physicist who is any good knows six or seven different theoretical representations for exactly the same physics.
One of the more difficult things about being a judge is as you're listening to the evidence, you have to be formulating how you're going to explain your evaluation of that evidence.
I say that why don't we bring all points of view. Sit around a table and discuss this evidence, and produce evidence as it may be, and let's see what the outcome is, which is why we are having this International panel which we are all talking about.
... when we are talking about 'Christians' and 'Moslems' we must first make sure that we are talking about people who have an idea, which should be more or less correct, as to what the other is supposed to believe and what he is expected to do as a consequence of that belief.
Everywhere I go I see increasing evidence of people swirling about in a human cesspit of their own making.
The only way to have real success in science, the field I'm familiar with, is to describe the evidence very carefully without regard to the way you feel it should be. If you have a theory , you must try to explain what's good and what's bad about it equally. In science, you learn a kind of standard integrity and honesty .
As you look at your fears head-on, you'll begin to see how much of what you fear is just False Evidence Appearing Real. When you act on this false evidence, you create chaos in your life.
We don't like to use the phrase "state security" in the United States because it reminds us of all the bad regimes. But it's a key concept, because when these officials are out on TV, they're not talking about what's good for you. They're not talking about what's good for business. They're not talking about what's good for society. They're talking about the protection and perpetuation of a national state system.
I never think of my work as writing for a young audience, frankly, because I think it risks talking 'down' to them. The idea is for these books to work just as well as for adults as kids. As for what readers will take away, I just want them to love being in the world and see it as a safe place to explore things that adults are often uncomfortable talking to them about.
The problem of making artists talk about their work is that when they're making their work the left-brain is shut off. So if you talk to an artist about it, you're talking to someone who wasn't there. It's hopeless. And also it's insulting. It's implying that the work is not an adequate account of itself. To me, the greatest artists are almost entirely non-verbal.
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