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The Art of the Soluble: Creativity and Originality in Science

par P. B. Medawar

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First published in 1967, The Art of the Soluble presents collection of essays giving the views of the author on creativity and originality in science and on the logical connections between creative and critical thought. It is also a pioneering study of the ethology of the scientists - of the anatomy of scientific behaviour. Is it true that scientists are detached or dispassionate observers of Nature? What underlies the scientist's deep concern over the matters of priority? How did a class distinction grow up between pure and applied science? By what criteria do scientists value their own and their colleagues work? Some of the answers grow out of author's four critical studies of Teilhard de Chardin, Arthur Koestler, D'Arcy Thompson and Herbert Spencer and the book as whole is knit together by a major essay Hypothesis and Imagination, on the nature of scientific reasoning. P. B. Medawar, who won the Nobel Prize for Medicine in 1960, did not see science as a book-keeping of Nature but, on the contrary, as the greatest of human adventures. This book will be an essential read for scholars and researchers of philosophy of Science, natural science, and philosophy in general… (plus d'informations)
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This collection of eight pieces by Sir Peter Medawar, who shared the Nobel Prize in 1960 for his work in graft rejection leading to advances in the toleration of transplants, is anchored by the last two essays, “Two Conceptions of Science” and “Hypothesis and Imagination.” The point of the title is made in a review of Arthur Koestler’s The Act of Creation, which Medawar finds disappointing because Koestler does not, as we might have expected and hoped, tell us anything from the artist’s viewpoint that shows how scientists go about creative activity. Medawar believes Koestler doesn’t understand how scientists work and that he is not in sympathy with them. Instead, he wants to draw metaphoric parallels among kinds of creative activity and then insist that the purely formal parallels somehow reflect real ones. To Koestler’s complaint that scientists don’t seem to tackle the big, hard questions, Medawar answers that “no scientist is admired for failing” and that if politics is the art of the possible, “research is surely the art of the soluble.”
The pieces here contain a devastating review of Teilhard de Chardin’s The Phenomenon of Man. Medawar bemoans the fact that, since Kant, many have “the mischievous belief” that obscurity means profundity. To the extent that an argument is discernible in de Chardin’s book, Medawar thinks it is fallacious, and blames the author for everywhere using terms that have real and circumscribed denotative meanings and proceeding to treat them as if they were capable of meaning almost anything. Medawar also talks about the work of two nineteenth-century biologists, D’Arcy Thompson and Herbert Spencer, and in another essay speculates that Darwin was not suffering from hypochondria or a “psychogenic” disease as his doctors seem to have believed, but may in fact have contracted Chaga’s disease, caused by Trypanosoma cruzi, a microbe carried by a blood-sucking South-American kissing bug. Medawar also includes his presidential address to the British Association, which gives a retrospective short summary of some of biology’s notable changes in the previous three decades.
His general subject in the book is to explore what scientists are and how they go about their work, and he concentrates on these questions in the last two essays. Science isn’t accumulated fact, as the public generally believes, writes Medawar in “Two Conceptions of Science.” It progresses by subsuming particular facts within general statements, and in that sense it gets simpler rather than more complicated. Moreover, the general notion that scientists are becoming more specialized is not true either: they are more dependent than ever on evidence and discoveries in related fields. One conception of science is that it is an imaginative activity of ideas that needs to be pursued in freedom and the individuals who do it need individual support. Science and poetry are cognate activities in this view. Another conception sees science as a critical and analytic activity with usefulness as its only objective measure. Patrons should support projects rather than people, teams, not individuals. Science and poetry are antithetical in this view. Both conceptions are partly true. Medawar blames John Stuart Mill’s description of “the scientific method” for much confusion about how scientists work. Medawar singles out Karl Popper’s The Logic of Scientific Discovery (1934), as reconciling the two opposed conceptions. He makes too much, I think, of the snobbery of preferring “pure” science versus applied science, insisting that “purity” isn’t a determiner of scientific value; explanatory power, clarifying power, and originality are. Medawar doesn’t think there’s a “scientific mind” or single “scientific method.” Moreover, scientists tell stories they know are not completely true—that is, they try to find a narrative, a theory that will bring things together in explanation. He continues this same discussion in “Hypothesis and Imagination,” reiterating points he made in the previous essay and reducing them to axioms:
“There is no such thing as a Scientific Mind….
There is no such thing as The Scientific Method….
The idea of a naïve or innocent observation is philosophers’ make-believe….
Induction is a myth….
The formulation of a natural law begins as an imaginative exploit and imagination is a faculty essential to the scientist’s task.”
Looking at the history of those who’ve commented on how a scientist works, he notes that eighteenth- and nineteenth-century experimental workers (William Whewell invented the word scientist, along with a great deal more useful terminology: anode and cathode, physicist, eocene, miocene, pliocene, among others) knew that a hypothesis even precedes observation—there is no innocent eye; the mind can’t register the “facts” without a matrix or pattern in which to fit them. The “hypothetico-deductive system” Medawar says is first fully argued in Popper, but it was anticipated by Dugald Stewart and William Whewell in the nineteenth century and even to some extent by John Gregory in the eighteenth. On the matter of induction, Popper is explicit in pointing out that “the only act which the scientist can perform with complete logical certainty” is falsification—disproving his hypothesis. It is in this sense that induction is a myth, since positive results do not “prove” a hypothesis, which still remains tentative. Scientists, says Medawar, have to have the further imagination to see what else would follow from their hypotheses, aside from that which they are trying to explain, and the imagination to devise tests for these other phenomena. Getting at how a scientist actually works is the more difficult since the major product of science, scientific papers, do “not merely conceal but actively misrepresent the reasoning that goes into the work they describe.” ( )
  michaelm42071 | Oct 23, 2015 |
Medawar is a biologist and a Nobel laureate, and the essays in this book contain his thoughts on the Philosophy of Science, and on several specific scientists and works. The book is too short, around 150 pages, and could have done with containing more essays. I enjoyed reading the essays that were there, I think his conceptions of science are useful, useful to the scientist - who can compare them to how he works, and useful for the non-scientist who can see how science actually is. Some of the books he discusses, The Act of Creation, and On Growth and Form, are books that receive less attention than they deserve from scientists, especially the latter, and Medawar has something interesting to say about both. The people who would benefit most from reading this book would be young people thinking of going into a career in science, people in a career in science, or people who were interested to understand a scientist's views on science. ( )
  P_S_Patrick | Feb 28, 2011 |
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First published in 1967, The Art of the Soluble presents collection of essays giving the views of the author on creativity and originality in science and on the logical connections between creative and critical thought. It is also a pioneering study of the ethology of the scientists - of the anatomy of scientific behaviour. Is it true that scientists are detached or dispassionate observers of Nature? What underlies the scientist's deep concern over the matters of priority? How did a class distinction grow up between pure and applied science? By what criteria do scientists value their own and their colleagues work? Some of the answers grow out of author's four critical studies of Teilhard de Chardin, Arthur Koestler, D'Arcy Thompson and Herbert Spencer and the book as whole is knit together by a major essay Hypothesis and Imagination, on the nature of scientific reasoning. P. B. Medawar, who won the Nobel Prize for Medicine in 1960, did not see science as a book-keeping of Nature but, on the contrary, as the greatest of human adventures. This book will be an essential read for scholars and researchers of philosophy of Science, natural science, and philosophy in general

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