John Searle Quotes

I want to block some common misunderstandings about "understanding": In many of these discussions one finds a lot of fancy footwork about the word "understanding."

Where conscious subjectivity is concerned, there is no distinction between the observation and the thing observed.

Materialism ends up denying the existence of any irreducible subjective qualitative states of sentience or awareness.

The Intentionality of the mind not only creates the possibility of meaning, but limits its forms.

The ascription of an unconscious intentional phenomenon to a system implies that the phenomenon is in principle accessible to consciousness.

Whatever is referred to must exist. Let us call this the axiom of existence.

An utterance can have Intentionality, just as a belief has Intentionality, but whereas the Intentionality of the belief is intrinsic the Intentionality of the utterance is derived.

You need to know at least one foreign language well enough so that you can read the best literature that that language has produced in the original, and so you carry on a reasonable conversation and have dreams in that language. There are several reasons why this is crucial, but the most important is perhaps this: you can never understand one language until you understand at least two.

In the performance of an illocutionary act in the literal utterance of a sentence, the speaker intends to produce a certain effect by means of getting the hearer to recognize his intention to produce that effect; and furthermore, if he is using the words literally, he intends this recognition to be achieved in virtue of the fact that the rules for using the expressions he utters associate the expression with the production of that effect.

I have only one real message in this lecture, and that is: consciousness is a biological phenomenon, like photosynthesis, digestion, mitosis—you know all the biological phenomena—and once you accept that, most, if not all about the hard problems of consciousness simply evaporate.

Descartes may have made a lot of mistakes, but he was right about this: you cannot doubt the existence of your own consciousness. That's the first feature of consciousness, it's real and irreducible. You cannot get rid of it by showing that it's an illusion in a way that you can with other standard illusions.

Well, what does “good” mean anyway...? As Wittgenstein suggested, “good,” like “game,” has a family of meanings. Prominent among them is this one: “meets the criteria or standards of assessment or evaluation.”

In many cases it is a matter for decision and not a simple matter of fact whether x understands y; and so on.

There is probably no more abused a term in the history of philosophy than “representation,” and my use of this term differs both from its use in traditional philosophy and from its use in contemporary cognitive psychology and artificial intelligence.... The sense of “representation” in question is meant to be entirely exhausted by the analogy with speech acts: the sense of “represent” in which a belief represents its conditions of satisfaction is the same sense in which a statement represents its conditions of satisfaction. To say that a belief is a representation is simply to say that it has a propositional content and a psychological mode.

It is apparently very congenial for some people who are professionally concerned with fictional texts to be told that all texts are really fictional anyway, and that claims that fiction differs significantly from science and philosophy can be deconstructed as a logocentric prejudice, and it seems positively exhilarating to be told that what we call "reality" is just more textuality. Furthermore, the lives of such people are made much easier than they had previously supposed, because now they don't have to worry about an author's intentions, about precisely what a text means, or about distinctions within a text between the metaphorical and the literal, or about the distinction between texts and the world because everything is just a free play of signifiers. The upper limit, and I believe the reductio ad absurdum, of this "sense of mastery" conveyed by deconstruction, is in Geoffrey Hartman's claim that the prime creative task has now passed from the literary artist to the critic.