One good reason for the popularity of "reductionism" among the philosophical outposts of the Western Establishment is that it can be, and is, used as a device for trying to take the wind, so to speak, out of the sails of Marxism. . . . In essence reductionism is a kind of anti-Marxist caricature of Marxist determinism. It is what anti-Marxists pretend that Marxist determinism is.
Clary: What are you doing here, anyway? Jace: 'Here' as in your bedroom or 'here' as in the great spiritual question of our purpose here on this planet? If you're asking whether it's all just a cosmic coincidence or there's a greater metaethical purpose to life, well, that's a puzzler for the ages. I mean, simple ontological reductionism is clearly a fallacious argument, but- Clary: I'm going to bed.
We must [it has been arued] go beyond reductionism to a holistic recognition that biology and culture interpenetrate in an inextricable manner.
The love of complexity without reductionism makes art; the love of complexity with reductionism makes science.
Reductionism is merciless.
The history of atomism is one of reductionism – the effort to reduce all the operations of nature to a small number of laws governing a small number of primordial objects.
Reductionism is a dirty word, and a kind of 'holistier than thou' self-righteousness has become fashionable.
The belief that life on earth arose spontaneously from nonliving matter, is simply a matter of faith in strict reductionism and is based entirely on ideology.
In art, as in science, reductionism does not trivialize our perception - of color, light, and perspective - but allows us to see each of these components in a new way.
