"Thing, body, matter, are nothing apart from the combinations of the elements, - the colours, sounds, and so forth - nothing apart from their so-called attributes"
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Mach is yanking the rug out from under “common sense” realism: the idea that a solid, stable “thing” sits behind experience like a hidden core. For him, matter isn’t the backstage machinery that produces color and sound; it’s the shorthand we use for recurring bundles of sensations. The provocation is surgical. By calling attributes “so-called,” Mach implies they’ve been smuggled in by habit and grammar: we talk as if there’s a noun (object) that owns a set of adjectives (qualities), when what we actually have are patterned impressions stitched together by the mind and by scientific language.
The intent is both epistemic and methodological. Mach wants physics to stop treating unobservables as metaphysical trophies. Late 19th-century science was flush with confidence in atoms and mechanical models; Mach, famously skeptical about atomic reality at the time, pushes a disciplined empiricism: stay close to what can be given in experience and to the relations among those givens. “Combinations of the elements” signals his program: reduce the world to analyzable components of sensation and the functional links between them, rather than positing an extra layer called “matter” to do explanatory work.
Subtext: objecthood is a convenience, not a revelation. A “body” is the stable intersection of colors, sounds, textures, resistances that cohere over time; remove that web and the leftover “thing-in-itself” is empty. It’s a critique of metaphysics disguised as housekeeping for science, and it anticipates the 20th century’s discomfort with naïve pictures of reality: what counts as “real” may be inseparable from measurement, description, and the conceptual economy that makes experience intelligible.
The intent is both epistemic and methodological. Mach wants physics to stop treating unobservables as metaphysical trophies. Late 19th-century science was flush with confidence in atoms and mechanical models; Mach, famously skeptical about atomic reality at the time, pushes a disciplined empiricism: stay close to what can be given in experience and to the relations among those givens. “Combinations of the elements” signals his program: reduce the world to analyzable components of sensation and the functional links between them, rather than positing an extra layer called “matter” to do explanatory work.
Subtext: objecthood is a convenience, not a revelation. A “body” is the stable intersection of colors, sounds, textures, resistances that cohere over time; remove that web and the leftover “thing-in-itself” is empty. It’s a critique of metaphysics disguised as housekeeping for science, and it anticipates the 20th century’s discomfort with naïve pictures of reality: what counts as “real” may be inseparable from measurement, description, and the conceptual economy that makes experience intelligible.
Quote Details
| Topic | Truth |
|---|---|
| Source | Ernst Mach, The Analysis of Sensations (Die Analyse der Empfindungen), 1886 — passage describing 'things' as combinations of elements (colours, sounds, etc.). |
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