here's how i think about it. heinrich wolfflin, in principles of art history, describes different ways or representing reality. one pair is "linear and painterly": think raphael vs rembrandt. in raphael, all the emphasis is on clarity of outline in a well-ordered, plane-oriented composition. rembrandt breaks the symmetries and planes and builds figures from within rather than tracing definite outlines. raphael effaces the brushstroke: you don't see the traces of the manual work. rembrandt is just the opposite. rembrandt disperses the light, yet makes clear that it emanates from a definite source; raphael bathes the scene in a relatively uniform, unsourced light, etc. wofflin writes: "They are two conceptions of the world, differently orientated in taste and in their interest in the world, and yet each capable of giving a perfect picture of visible things" (p. 18 of the dover edition). there is not a way to adjudicate between them wherein one would be 'objective': there is not one objective system of representation.
now science is not the world: it's a series of systems for representing the world. at any given moment, like art even where it is concerned with accurate depiction, it also responds to all sorts of factors: cultural moods, funding mechanisms, academic hierarchies, mood. and it responds constantly to aesthetic factors: simplicity vs complexity, clarity vs richness, etc. but this is not to say that science is 'nothing but' these factors.
there can be more than one accurate representation of the same thing. but there could be inaccurate representations. giotto really is truer to the world and our experience of it than a medieval altarpiece (not surprising because the medieval painter wasn't trying for accuracy!) and masaccio really is more accurate than giotto. perspective really was an advance in truth, even though it was also a set of representational conventions and had its limits.
on this parallel, there could be different paradigms neither of which was more accurate, or which highlighted different aspects or had different contexts, purposes, and so on. however it certainly does not follow that any paradigm is fine, and it would take a lot to make me think that two paradigms were in any sense 'incommensurable'; certainly not if they're consecutive in the very same culture or science. (i don't offhand entirely preclude the possibility of 'incommensurable' scientific paradigms which are equally accurate or inaccurate, but i wouldn't expect to see that and of course it depends, as it so did in the interpretation of kuhn, what you mean by 'incommensurable.') but certainly linear and painterly are very different. but but you got painterly in response to linear: the paradigms are historically connected, in fact they more or less have to have the sequence they do, and they are certainly not globally or entirely different in the way they represent the world.
now what wolfflin misses (though not entirely), and maybe what kuhn misses, is the massive overlap of alternative systems and paradigms. rembrandt understood raphael; he could recognize the objects depicted even as he he worked through it into a different but equally comprehensible representational schema. raphael and rembrandt are very different, but not alien to one another, and there is a story to tell about how you get from one to the other. and they are both, among other things, trying to 'imitate' or accurately represent the very same world.
how we see and how a dog sees are very different, but you can tell in our interactions that we experience the same world in somewhat different ways. (when the dog wants out, she barks at the door; she doesn't pass through the wall.) you can tell that aristotle's experience overlaps massively with our own - that the world he's trying to account for is our world (albeit different in the ordinary ways; he didn't have cable) - though he produces such a different representational scheme. it is really interesting and important to try to enter into that scheme, and you can't evaluate its capacities for truth unless you enter into it as far as you can in its own context or in its own terms. then it reveals its truths, or its role in a history that does in some ways to some extent make progress. then if you were trying to narrate physics aristotle to einstein as a series of paradigms, you'd have to do all sorts of things: smooth shifts between closely-related paradigms, relatively sudden relatively radical displacements (like maybe ancient to medieval), revolutionary developments re-explaining experimental results developed within the previous paradigm, and so on.
our actual sensory experience, on my account, is not representational; that's why we share a world; and that's why modern philosophy at least since descartes has been a dead end: we are not looking at our own ideas or mental images, we are looking at, which is to say, ingesting, actual things. but there are representations: things like paintings and theories. the analogy of our experience to such things is compelling. but it's wrong. the current fad for the idea that the universe consists of information is a version of this mistake, which seems intractable. the notion that in interacting with my dog i am immediately acquainted only with a series of percepts, images, feels, etc is a terrible betrayal of our actual experience and world. it is non-explanatory and it raises a thousand unanswerable skeptical doubts. and it seals each of us in our own percepts, behind a screen, or a bunch of us together in our language.
i'm not denying that einstein is truer than aristotle. orbits are elliptical and the earth isn't flat and people do believe all kinds of crap. but you do want to treat einstein's physics as a system of representation responding to all sorts of factors too: no scientific theory is 'objective' in the sense that it does not deploy representational schemata which are alterable, and to which there are alternatives. but representational schemata are not all equal truthwise, even though there could be equally true representations in some two systems of the same thing. and some representational systems are sensitive to different kinds of truths or different features of real things than others; no human schema is entirely adequate to an infinitely profuse reality; or, reality is always in radical excess to its representations.
and it is worthwhile really to immerse yourself in different historical moments, different cultures, different groups' experiences, insofar as that is possible, among other things so that you don't just think your moment or group must have the truth or the only true schema, and so that you don't stop being critical of all sorts of factors in your own representational schema. it's hard to be aware of your own era's/culture's representational schema and you can't become completely aware of it. but you need always to be seeing the compelling qualities of other schemata, know the present structure is optional, not the last word. because it will certainly be replaced. under aesthetic demands and sociological shifts, but also in a quest for representational accuracy.
and what the history of science shows among other things is that the world will keep blasting through every representational schema, that each is impoverished; none is exhaustive. that's one reason why you keep observing and experimenting instead of just repeating the commonplaces of your present science or the present syntax of your community's language.
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