Ambiguity Quotes - page 6
Most people like to believe something is or is not true. Great scientists tolerate ambiguity very well. They believe the theory enough to go ahead; they doubt it enough to notice the errors and faults so they can step forward and create the new replacement theory. If you believe too much you'll never notice the flaws; if you doubt too much you won't get started. It requires a lovely balance.
Richard Hamming
Francis Bacon, in his New Atlantis, could charge his elite scientists in Salomon's House with practicing self-censorship to avoid publicizing dangerous knowledge. Here is how the Father of Salomon's House describes their practice: "We have consultations, which of the inventions and experiences which we have discovered shall be published, and which not: and take all a oath of secrecy for the concealing of those which we think fit to keep secret: though some of those we do reveal sometime to the State, and some not.” Bacon, the first prophet of the new relation between science and society and of the "conquest of nature for the relief of man's estate,” knew better than we that knowledge is dangerous, that publication is a public and politically relevant act, and that self-censorship on the part of scientists is necessary and desirable. The passage is also remarkable for its wonderful ambiguity regarding whether scientists or the State has ultimate authority over dangerous knowledge.
Leon Kass
There were severed hands in the Congo, at the time of the Independent State... by the Officers of the Force Publique, to prevent the waste of ammunition to which their soldiers willingly let go, demanded that they provide proof that they had used their cartridges correctly. The proof was the severed hand of the killed enemy ... Severed hands, it will be noted, never constituted a form of punishment. ... By emphasizing, as they did, on the theme of severed hands - a theme which, we realize, easily provoked emotion -, Morel and his friends gave birth to the ambiguity which finally spread and lasted until our days: the idea that Leopold II had his hands cut off in the Congo, that it was a question of torture inflicted on the population, and even of torture most characteristic of the regime.
Leopold II of Belgium
[After leaving the w:Exposition Universelle (1855) ].. .I went to the Courbet exposition. He has reduced the price of admission to ten sous. I stayed there alone for nearly one hour and discovered a masterpiece in the picture, they rejected [the jury of the official Salon exhibition in Paris]. I simply could not tear myself away from the sight of it.. ..In [Courbet's painting 'The Studio'] the planes are well understood. There is atmosphere, and in some passages the execution is really remarkable, especially the tights and hips of the nude model and the breasts.. .The only fault is that the picture, as he painted it, seems to contain an ambiguity. It looks as though there were a real sky in the middle of the painting. They [The Salon-jury] have rejected one of the most remarkable works of our time, but Courbet is not the man to be discouraged by a little thing like that.
Gustave Courbet
The whole point of art, for me, is to give us tools to explore feelings or situations or dilemmas that defeat our other ways of making meaning. When a situation is so vertiginous, so ethically complex, so emotionally fraught, that I feel like I'm staring into an abyss-that's when I feel moved to make art, when I feel I need the peculiar tools of fiction to figure out what I think. I mean, to inhabit my bewilderment. I think art is the realm in which we can give full rein to the ambiguity, uncertainty, and doubt that we often feel we have to suppress in other kinds of expression-in our political speech, say. I think an ability to dwell in ambiguity, uncertainty, and doubt is a central virtue of humanness. I think it's crucial to any thinking that might adequately capture the complexity of reality.
Garth Greenwell
