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Arthur Stanley Eddington

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The whole subject-matter of exact science consists of pointer readings and similar indications.
--
Ch. 10 The New Quantum Theory

 
Arthur Stanley Eddington

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Never mind what two tons refers to. What is it? How has it entered in so definite a way into our exprerience? Two tons is the reading of the pointer when the elephant was placed on a weighing machine. Let us pass on. ... And so we see that the poetry fades out of the problem, and by the time the serious application of exact science begins we are left only with pointer readings.

 
Arthur Stanley Eddington
 

To attempt to penetrate through the indeterminate confusion of present tendencies and first efforts in order to foresee the exact forms the new creation will take, would be an effort of very doubtful utility. One might as well try to forecast a harmony from the sounds made by the tuning of the instrument. In one direction or another we may just detect certain decisive indications, but even these are only first indications and we may be quite sure that much lies behind them that will go far beyond anything that they yet suggest. This is true whether in religion and spirituality or thought and science, poetry and art or society and politics. Everywhere there is, at most, only a beginning of beginnings.

 
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There is a strong temptation to assume that presenting subject matter in its perfected form provides a royal road to learning. What more natural than to suppose that the immature can be saved time and energy, and be protected from needless error by commencing where competent inquirers have left off? The outcome is written large in the history of education. Pupils begin their study of science with texts in which the subject is organized into topics according to the order of the specialist. Technical concepts, with their definitions, are introduced at the outset. Laws are introduced at a very early stage, with at best a few indications of the way in which they were arrived at. The pupils learn a "science" instead of learning the scientific way of treating the familiar material of ordinary experience.

 
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As one learns the language of a subject, one is also learning what the subject is. ...what we call a subject consists mostly, if not entirely, of its language. If you eliminate all the words of a subject, you have eliminated the subject.

 
Neil Postman
 

(in the Italian Renaissance) there was no ‘subject-matter’. What we call subject matter now, was then painting itself. Subject matter came later on when parts of those works were taken out arbitrarily, when a man for no reason is sitting, standing or ling down. He became a bather, she became a bather; she was reclining; het just stood there looking ahead. That is when the posing in panting began... For really, when you think of all the life and death problems in the art of Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.

 
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