Cons and Facades

From: Aaron Lynch (aaron@mcs.net)
Date: Tue Jun 13 2000 - 17:29:03 BST

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    Date: Tue, 13 Jun 2000 11:29:03 -0500
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    From: Aaron Lynch <aaron@mcs.net>
    Subject: Cons and Facades
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    At 03:49 PM 6/10/00 -0400, Wade T.Smith wrote (in Imitation or transmission
    thread):

    <snip>

    >Because calling, as Aaron has mentioned, "paraphrasings of existing
    >marketing science", memetic engineering, is, just as he also said, the
    >facade of a con.
    >
    >- Wade

    Wade,

    To see the potential scientific harm of proliferating facades and cons,
    let's do a thought experiment. Suppose a bunch of people had shown up with
    various theories called "relativity" at around the same time as Einstein's
    work. Perhaps it was just easier to cook up a con than to do the hard work
    of developing a completely honest theory, so more people took up con
    artistry than real relativity. Perhaps it would be fed by a prevailing
    cultural or sub-cultural notion that an effective con was just as brilliant
    if not more so than the product of hard work. Suppose that the fake
    theories were expressed in very impressive-sounding jargon, but that most
    did little more than paraphrase Newtonian physics--the products of meager
    work slickly promoted. Suppose too that various fantastic and alluring
    claims were included, such as assertions that one could travel at a billion
    kilometers per second.

    How much attention would Einstein have received if he were outnumbered by
    the charlatans, who were far smoother and more aggressive as
    self-promoters? What if Einstein persisted in working much harder on
    physics than on self-promotion gimmicks? What if the con artists protected
    their interests by deflecting attention from serious theory? How many
    friends would Einstein have made if he dared criticize the con artists?
    Would he then have been seen as an ogre? Would he have been labeled a "con
    artist" himself? How would his theories have fared when the con artists
    went on the offensive and portrayed Einstein's work as silly, preposterous,
    disingenuous babble? How might he have defended his theories from
    assertions that they were "dangerous to relativity"?

    These are all meant as rhetorical questions rather than descriptions of the
    state of affairs in any existing discipline. But the principles involved
    might be worth considering in order to see how much damage could result
    from condoning cons and facades.

    --Aaron Lynch

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