Willard Van Orman Quine (June 25, 1908 – December 25, 2000) (known to intimates as "Van") was an American philosopher and logician in the analytic tradition. From 1930 until his death 70 years later, Quine was continually affiliated with Harvard University in one way or another, first as a student, then as a professor of philosophy and a teacher of logic and set theory, and finally as a professor emeritus who published or revised several books in retirement. He filled the Edgar Pierce Chair of Philosophy at Harvard from 1956 to 1978. A recent poll conducted among analytic philosophers named Quine as the fifth most important philosopher of the past two centuries. He won the first Schock Prize in Logic and Philosophy in 1993, for "his systematical and penetrating discussions of how learning of language and communication are based on socially available evidence and of the consequences of this for theories on knowledge and linguistic meaning."
Quine falls squarely into the analytic philosophy tradition while also being the main proponent of the view that philosophy is not merely conceptual analysis. His major writings include "Two Dogmas of Empiricism" (1951), which attacked the distinction between analytic and synthetic propositions and advocated a form of semantic holism, and Word and Object (1960), which further developed these positions and introduced Quine's famous indeterminacy of translation thesis, advocating a behaviorist theory of meaning. He also developed an influential naturalized epistemology that tried to provide "an improved scientific explanation of how we have developed elaborate scientific theories on the basis of meager sensory input." He is also important in philosophy of science for his "systematic attempt to understand science from within the resources of science itself" and for his conception of philosophy as continuous with science. This led to his famous quip that "philosophy of science is philosophy enough." In philosophy of mathematics, he and his Harvard colleague Hilary Putnam developed the "Quine-Putnam indispensability thesis," an argument for the reality of mathematical entities.
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“The three main medieval points of view regarding universals are designated by historians as realism, conceptualism, and nominalism. Essentially these same three doctrines reappear in twentieth-century surveys of the philosophy of mathematics under the new names logicism, intuitionism, and formalism.”
—Willard Van Orman Quine (b. 1908)
“Our acceptance of an ontology is, I think, similar in principle to our acceptance of a scientific theory, say a system of physics; we adopt, at least insofar as we are reasonable, the simplest conceptual scheme into which the disordered fragments of raw experience can be fitted and arranged.”
—Willard Van Orman Quine (b. 1908)
“Some may find comfort in reflecting that the distinction between an eliminative and an explicative physicalism is unreal.”
—Willard Van Orman Quine (b. 1908)
“Different persons growing up in the same language are like different bushes trimmed and trained to take the shape of identical elephants. The anatomical details of twigs and branches will fulfill the elephantine form differently from bush to bush, but the overall outward results are alike.”
—Willard Van Orman Quine (b. 1908)
“Rocked in the cradle of the deep
I lay me down in peace to sleep;
Secure I rest upon the wave,
For Thou, O Lord! hast power to save.”
—Emma Hart Willard (1787–1870)
“No construction stiff working overtime takes more stress and straining than we did just to stay high.”
—Gus Van Sant, U.S. screenwriter and director, and Dan Yost. Bob Hughes (Matt Dillon)
“Our acceptance of an ontology is, I think, similar in principle to our acceptance of a scientific theory, say a system of physics; we adopt, at least insofar as we are reasonable, the simplest conceptual scheme into which the disordered fragments of raw experience can be fitted and arranged.”
—Willard Van Orman Quine (b. 1908)
“The mastery of one’s phonemes may be compared to the violinist’s mastery of fingering. The violin string lends itself to a continuous gradation of tones, but the musician learns the discrete intervals at which to stop the string in order to play the conventional notes. We sound our phonemes like poor violinists, approximating each time to a fancied norm, and we receive our neighbor’s renderings indulgently, mentally rectifying the more glaring inaccuracies.”
—W.V. Quine (b. 1908)