Olaf L. Müller

The analytic/synthetic distinction can be conceived from two points of view: from within or from without; from the perspective of one's own language or from the perspective of the language of others. From without, the central question is which sentences of a foreign language are to be classified as analytic. From within, by contrast, the question concerning the synthetic and the analytic acquires a normative dimension: which sentences am I not permitted to reject—if I want to avoid talking nonsense? Both perspectives on analytic sentences do not mutually exclude but supplement and illuminate each other. In "Two Dogmas", Quine's criticism of the analytic/synthetic distinction comes from within, whereas in Word and Object, Quine repeats his earlier criticism from without. His criticism is directed against Carnap's views on our understanding of theoretical terms. I challenge Quine's criticism in both of its versions and provide two definitions for analyticity that are immune to Quine's arguments. Using the first of these definitions (the one from without) I try to show how it is possible to distinguish (genuine) belief revision from linguistic change—even in case of a scientific revolution.

When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and the many colourful syntheses done by Viennese painter Ingo Nussbaumer exemplify even greater beauty. Here are some criteria (which, of course, do not implement a decision procedure concerning beauty in experiments): cleanliness, simplicity, intellectual clarity, symmetry. Similar criteria are relevant to our aesthetical judgements about some pieces of music. So we can assume that our notion of beauty conserning art is related to the one conserning scientific experiments.