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Home > Category Index for Science Quotations > Category Index A > Category: Art

Art Quotes (681 quotes)

… to the bourgeois ... art and science appear not as creative opposites but as eternal antagonists.
In Studies in a Dying Culture (1938).
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…comparing the capacity of computers to the capacity of the human brain, I’ve often wondered, where does our success come from? The answer is synthesis, the ability to combine creativity and calculation, art and science, into whole that is much greater than the sum of its parts.
In How Life Imitates Chess: Making the Right Moves, from the Board to the Boardroom (2007), 4.
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…the simplicity, the indispensableness of each word, each letter, each little dash, that among all artists raises the mathematician nearest to the World-creator; it establishes a sublimity which is equalled in no other art,—Something like it exists at most in symphonic music.
As quoted in Robert E. Moritz, 'Meaning, Methods and Mission of Modern Mathematics', The Scientific Monthly (May 1928), 26, No. 5, 424.
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'Tis certain that a serious attention to the sciences and liberal arts softens and humanizes the temper, and cherishes those fine emotions in which true virtue and honor consist. It rarely, very rarely happens that a man of taste and learning is not, at least, an honest man, whatever frailties may attend him.
Essay XVIII, 'The Sceptic', Essays and Treatises on Several Subjects (1742, New ed. 1767), Vol. 1, 193.
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“Healing,” Papa would tell me, “is not a science, but the intuitive art of wooing Nature.”
From 'The Art of Healing' (1969), Epistle to a Godson: And Other Poems (1972), 7. (Auden’s father was a physician.) The memorial poem was written on the death of his friend, Dr. David Protetch.
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[Alchemists] enrich the ears of men with vain words, but empty their Pockets of their Money. Whence it appears to be no Art, but a Composition of Trifles, and inventions of mad brains.
In The Vanity of the Arts and Sciences (1530), translation (1676), 313.
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[Audubon’s works are] the most splendid monuments which art has erected in honor of ornithology.
Introduction by Jas. Grant Wilson's to John James Audubon and Lucy Audubon (editor), The Life of John James Audubon: the Naturalist (1869), iv.
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[Hermetic philosophy (Alchemy) was the only Art which might be able] to complete and bring to light not only medicine but also a universal Philosophy.
…quaeque sola non Medicinam tantum, sed et universam Philosophiam valde perficere et illustrare possit.
Original Latin in The Theological Works of Isaac Barrow (1859), 46. Translation, with citation, in B.J.T. Dobbs, The Foundations of Newton's Alchemy (1983), 96.
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[Ignorance] of the principle of conservation of energy … does not prevent inventors without background from continually putting forward perpetual motion machines… Also, such persons undoubtedly have their exact counterparts in the fields of art, finance, education, and all other departments of human activity… persons who are unwilling to take the time and to make the effort required to find what the known facts are before they become the champions of unsupported opinions—people who take sides first and look up facts afterward when the tendency to distort the facts to conform to the opinions has become well-nigh irresistible.
From Evolution in Science and Religion (1927), 58-59. An excerpt from the book including this quote appears in 'New Truth and Old', Christian Education (Apr 1927), 10, No. 7, 394-395.
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[In 1909,] Paris was the center of the aviation world. Aeronautics was neither an industry nor even a science; both were yet to come. It was an “art” and I might say a “passion”. Indeed, at that time it was a miracle. It meant the realization of legends and dreams that had existed for thousands of years and had been pronounced again and again as impossible by scientific authorities. Therefore, even the brief and unsteady flights of that period were deeply impressive. Many times I observed expressions of joy and tears in the eyes of witnesses who for the first time watched a flying machine carrying a man in the air.
In address (16 Nov 1964) presented to the Wings Club, New York City, Recollections and Thoughts of a Pioneer (1964), 5.
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[In the case of research director, Willis R. Whitney, whose style was to give talented investigators as much freedom as possible, you may define “serendipity” as] the art of profiting from unexpected occurrences. When you do things in that way you get unexpected results. Then you do something else and you get unexpected results in another line, and you do that on a third line and then all of a sudden you see that one of these lines has something to do with the other. Then you make a discovery that you never could have made by going on a direct road.
Quoted in Guy Suits, 'Willis Rodney Whitney', National Academy of Sciences, Biographical Memoirs (1960), 355.
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[Jethro Tull] was the first Englishman—perhaps the first writer, ancient and modern—who has attempted, with any tolerable degree of success, to reduce the art of agriculture to certain and uniform principles; and it must be acknowledged that he has done more towards establishing a rational and practical method of husbandry than all the writers who have gone before him.
Anonymous
In Letter (18 Oct 1764), signed only “D.Y.” from Hungerford, in Sylvanus Urban (ed.), 'Observations on the late Improvements in Agriculture', The Gentleman’s Magazine (Nov 1764), 525.
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[May] this civic and social landmark [the Washington, D.C., Jewish Community Center] ... be a constant reminder of the inspiring service that has been rendered to civilization by men and women of the Jewish faith. May [visitors] recall the long array of those who have been eminent in statecraft, in science, in literature, in art, in the professions, in business, in finance, in philanthropy and in the spiritual life of the world.
Speech upon laying the cornerstone of the Jewish Community Center, Washington, D.C. (3 May 1925). In William J. Federer, A Treasury of Presidential Quotations (2004), 240.
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[On gold, silver, mercury, platinum, palladium, rhodium, iridium, osmium:] As in their physical properties so in their chemical properties. Their affinities being weaker, (the noble metals) do not present that variety of combinations, belonging to the more common metals, which renders them so extensively useful in the arts; nor are they, in consequence, so necessary and important in the operations of nature. They do not assist in her hands in breaking down rocks and strata into soil, nor do they help man to make that soil productive or to collect for him its products.
From 13th Lecture in 1818, in Bence Jones, The Life and Letters of Faraday (1870), Vol. 1, 254.
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[Saint-Gaudens and Matthew Arnold] felt a railway train as power; yet they, and all other artists, constantly complained that the power embodied in a railway train could never be embodied in art. All the steam in the world could not, like the Virgin, build Chartres.
After viewing the Palace of Electricity at the 1900 Trocadero Exposition in Paris. In The Education of Henry Brooks Adams: An Autobiography (1918), 388.
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[T]he rapt philosopher, and he who contemplates a work of art, inhabit a world with an intense and peculiar significance of its own; that significance is unrelated to the significance of life.
In Art (1913), 26.
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[The body of law] has taxed the deliberative spirit of ages. The great minds of the earth have done it homage. It was the fruit of experience. Under it men prospered, all the arts flourished, and society stood firm. Every right and duty could be understood because the rules regulating each had their foundation in reason, in the nature and fitness of things; were adapted to the wants of our race, were addressed to the mind and to the heart; were like so many scraps of logic articulate with demonstration. Legislation, it is true occasionally lent its aid, but not in the pride of opinion, not by devising schemes inexpedient and untried, but in a deferential spirit, as a subordinate co-worker.
From biographical preface by T. Bigelow to Austin Abbott (ed.), Official Report of the Trial of Henry Ward Beecher (1875), Vol. 1, xii.
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[The earth’s rocks] were so arranged, in their formation, that they should best serve Man’s purposes. The strata were subjected to metamorphism, and so crystallized, that he might be provided with the most perfect material for his art, his statues, temples, and dwellings; at the same time, they were filled with veins, in order to supply him with gold and silver and other treasures. The rocks were also made to enclose abundant beds of coal and iron ore, that Man might have fuel for his hearths and iron for his utensils and machinery. Mountains were raised to temper hot climates, to diversify the earth’s productiveness, and, pre-eminently, to gather the clouds into river-channels, thence to moisten the fields for agriculture, afford facilities for travel, and supply the world with springs and fountains.
In 'Concluding Remarks', A Text-book of Geology: Designed for Schools and Academies (1863), 338.
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[The] subjective [historical] element in geologic studies accounts for two characteristic types that can be distinguished among geologists: one considering geology as a creative art, the other regarding geology as an exact science.
In 'The Scientific Character of Geology', The Journal of Geology (Jul 1961), 69, No. 4, 453.
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“Ye, sire,” I seide,
“By so no man were greved,
Alle the sciences under sonne,
And alle sotile craftes,
Ich wolde ich knewe and kouthe
Kyndely in myn harte.”

“Yes, sir,” I said, “so long as no one minds. All science under the sun, and all subtle arts. Were it possible, I would know and hold naturally within my heart!”
In William Langland and B. Thomas Wright (ed.) The Vision and Creed of Piers Ploughman (1842), 297. Modern translation by Terrence Tiller in Piers Plowman (1981, 1999), 157.
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[Describing the effects of over-indulgence in wine:]
But most too passive, when the blood runs low
Too weakly indolent to strive with pain,
And bravely by resisting conquer fate,
Try Circe's arts; and in the tempting bowl
Of poisoned nectar sweet oblivion swill.
Struck by the powerful charm, the gloom dissolves
In empty air; Elysium opens round,
A pleasing frenzy buoys the lightened soul,
And sanguine hopes dispel your fleeting care;
And what was difficult, and what was dire,
Yields to your prowess and superior stars:
The happiest you of all that e'er were mad,
Or are, or shall be, could this folly last.
But soon your heaven is gone: a heavier gloom
Shuts o'er your head; and, as the thundering stream,
Swollen o'er its banks with sudden mountain rain,
Sinks from its tumult to a silent brook,
So, when the frantic raptures in your breast
Subside, you languish into mortal man;
You sleep, and waking find yourself undone,
For, prodigal of life, in one rash night
You lavished more than might support three days.
A heavy morning comes; your cares return
With tenfold rage. An anxious stomach well
May be endured; so may the throbbing head;
But such a dim delirium, such a dream,
Involves you; such a dastardly despair
Unmans your soul, as maddening Pentheus felt,
When, baited round Citheron's cruel sides,
He saw two suns, and double Thebes ascend.
The Art of Preserving Health: a Poem in Four Books (2nd. ed., 1745), Book IV, 108-110.
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Ars longa, vita brevis.
Art is long, life is short.
Aphorisms, i. The original was written in Greek. This Latin translation, by Seneca (De Brevitate Vitae, 1.1), is in John Bartlett, Familiar Quotations (1905), 6, footnote 3. The sense is generally taken to be, 'Life is short, but to learn a profession (an art) takes a long time.'
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Dans l’étude de la nature, comme dans la pratique de l’art, il n’est pas donné a l’homme d’arriver au but sans laisser des traces des fausses routes qu’il a tenues.
In the study of nature, as in the practice of art, it is not given to man to achieve the goal without leaving a trail of dead ends he had pursued.
French version in Encyclopédie Méthodique (1786), Vol. 1, Introduction, iv. English by Webmaster assisted by Google Translate.
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Der bis zur Vorrede, die ihn abweist, gelangte Leser hat das Buch für baares Geld gekauft und frägt, was ihn schadlos hält? – Meine letzte Zuflucht ist jetzt, ihn zu erinnern, daß er ein Buch, auch ohne es gerade zu lesen, doch auf mancherlei Art zu benutzen weiß. Es kann, so gut wie viele andere, eine Lücke seiner Bibliothek ausfüllen, wo es sich, sauber gebunden, gewiß gut ausnehmen wird. Oder auch er kann es seiner gelehrten Freundin auf die Toilette, oder den Theetisch legen. Oder endlich er kann ja, was gewiß das Beste von Allem ist und ich besonders rathe, es recensiren.
The reader who has got as far as the preface and is put off by that, has paid money for the book, and wants to know how he is to be compensated. My last refuge now is to remind him that he knows of various ways of using a book without precisely reading it. It can, like many another, fill a gap in his library, where, neatly bound, it is sure to look well. Or he can lay it on the dressing-table or tea-table of his learned lady friend. Or finally he can review it; this is assuredly the best course of all, and the one I specially advise.
In Preface, written at Dresden in August 1818, first German edition, Die Welt als Wille und Vorstellung, 4 Bücher nebst einem Anhange der die Kritik der Kentischen Philosophie (1819), xv-xvi. As translated by E.F.J. Payne in The World as Will and Representation (1958, 1969), Vol. 1, xvii. In the preface, Schopenhauer is joking that some readers of his book may find his work does not interest them.
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Die Mathematiker sind eine Art Franzosen. Spricht man zu ihnen, so übersetzen sie alles in ihre eigene Sprache, und so wird es alsobald etwas ganz anderes.
Mathematicians are a kind of Frenchmen. Whenever you say anything or talk to them, they translate it into their own language, and right away it is something completely different.
Quoted by Christiane Senn-Fennell, 'Oral and Written Communication', in Ian Westbury et al. (eds.), Teaching as a Reflective Practice (2000), 225.
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Die Politik ist keine Wissenschaft, wie viele der Herren Professoren sich einbilden, sondern eine Kunst, sie ist ebensowenig.
Politics is not a science, as many of the professors imagine, but an art, it is just like that.
Original German in Otto von Bismarck, Horst Kohl, Bismarckreden: 1847-1895 (1899), 255. As quoted in translation in William Roscoe Thayer 'Cavour and Bismarck', The Atlantic (Mar 1909), 103, 343.
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Die Wissenschaft ist ein Land, welches die Eigenschaft hat, um so mehr Menschen beherbergen zu können, je mehr Bewohner sich darin sammeln; sie ist ein Schatz, der um so grösser wird, je mehr man ihn teilt. Darum kann jeder von uns in seiner Art seine Arbeit tun, und die Gemeinsamkeit bedeutet nicht Gleichförmigkeit.
Science is one land, having the ability to accommodate even more people, as more residents gather in it; it is a treasure that is the greater the more it is shared. Because of that, each of us can do his work in his own way, and the common ground does not mean conformity.
Speaking (in German) at the Banquet to Past Presidents, the Chemical Society, as published in William Crookes (ed.) The Chemical News (16 Dec 1898), 78, 298. Also used as epigraph, in Paul Walden, Wilhelm Ostwald (1904), 1. Translation by Webmaster.
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Error has made man so deep, sensitive, and inventive that he has put forth such blossoms as religions and arts. Pure knowledge could not have been capable of it.
Human, All-To-Human, Vol. 1, 44-45. (1878), 140. In Willard Huntington Wright, What Nietzsche Taught? (1917), 78.
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In artibus et scientiis, tanquam in metalli fodinis, omnia novis operibus et ulterioribus progressibus circumstrepere debent
But arts and sciences should be like mines, where the noise of new works and further advances is heard on every side.
Original Latin as in Novum Organum, Book 1, XC, collected in The Works of Francis Bacon (1826), Vol. 8, 50-51. As translated by James Spedding and Robert Leslie Ellis in The Works of Francis Bacon (1863), 127.
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In scientia veritas, in arte honestas.
In science truth, in art honour.
Anonymous
In Jon R. Stone, The Routledge Dictionary of Latin Quotations (2005), 170.
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L’art d’enseigner n’est que l’art d’éveiller la curiosité des jeunes âmes pour la satisfaire ensuite.
The whole art of teaching is only the art of awakening the natural curiosity of young minds for the purpose of satisfying it afterwards.
The Crime of Sylvestre Bonnard (1894) translated by Lafcadio Hearn, in The Works of Anatole France in an English Translation (1920), 198.
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L’art du chercheur c’est d’abord de se trouver un bon patron.
The researcher’s art is first of all to find himself a good boss.
Cited in Review of Advice to a Young Scientist by P. B. Medawar. In Max Perutz, Is Science Necessary?: Essays on Science and Scientists (1991), 194.
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L’Art est fait pour troubler, la Science rassure.
Art is meant to disturb, science reassures.
From the original French, “L’Art est fait pour troubler, la Science rassure,” in Pensées sur l’Art. As translated by S. Appelbaum in Georges Braque Illustrated Notebooks: 1917-1955 (1971), 10. Also seen elsewhere translated as, “Art upsets, science reassures” or “Art is meant to upset people, science reassures them.”
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La civilisation, c'est l'art de se créer des besoins inutiles.
Civilization is the art of creating useless needs.
In Recueil d'Œuvres de Léo Errera: Botanique Générale (1908), 198. Google translation by Webmaster.
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Nicht Kunst und Wissenschaft allein,
Geduld will bei dem Werke sein.

Not Art and Science serve alone; Patience must in the work be shown.
Lines for character Mephistopheles in Faust I. As translated by Bayard Taylor in Lilian Dalbiac, Dictionary of Quotations (German) (1909, 256. Also translated as “Not art and science only, but patience will be required for the work”, in James Wood, Dictionary of Quotations from Ancient and Modern, English and Foreign Sources (1893), 298, No. 11.
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Notatio naturae, et animadversio perperit artem
Art is born of the observation and investigation of nature.
In Jon R. Stone, The Routledge Dictionary of Latin Quotations (2005), 78.
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Note: This quote is by French playwright Henri Becque. It is widely seen attributed, incorrectly, to Henri Becquerel.
Decisiveness is often the art of timely cruelty.
This is NOT a quote by Henri Becquerel. It is in fact by French playwright Henri Becque (1837-1899). Because of the many erroneous attributions found on the web, it is included here help the diligent searcher find a correct reference. See Robert Andrews, The Concise Columbia Dictionary of Quotations (1989), 74. Please contact Webmaster if you know the primary print source.
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Of Cooking. This is an art of various forms, the object of which is to give ordinary observations the appearance and character of those of the highest degree of accuracy. One of its numerous processes is to make multitudes of observations, and out of these to select only those which agree, or very nearly agree. If a hundred observations are made, the cook must be very unhappy if he cannot pick out fifteen or twenty which will do for serving up.
Reflections on the Decline of Science in England (1830). In Calyampudi Radhakrishna Rao, Statistics and Truth (1997), 84.
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Or any science under sonne,
The sevene artz and alle,
But thei ben lerned for oure Lordes love
Lost is al the tyme.

Every science under the sun, including the Seven Arts,
Unless learned for love of Our Lord, is only time lost.
In William Langland and B. Thomas Wright (ed.) The Vision and Creed of Piers Ploughman (1842), 212. An associated Note on p.539 lists: “The seven arts studied in the schools were very famous throughout the middle ages. They were grammar, dialectics, rhetoric, music, arithmetic, geometry, astronomy; and were included in the following memorial distich:—
“Gram, loquitur, Dia. vera docet, Rliet. verba colorat,
Mus. canit, Ar. numerat, Geo. ponderat, As. colit astra.”
Modern translation by Terrence Tiller in Piers Plowman (1981, 1999), 109.
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Philosophia vero omnium mater artium.
Philosophy is true mother of the arts [of science].
Tusculanarum Disputationum Book 1. In Hoyt's New Cyclopedia of Practical Quotations as revised and expanded by Kate Louise Roberts (1922), 691.
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Wer Wissenschaft und Kunst besitzt,
Hat auch Religion;
Wer jene beiden nicht besitzt,
Der habe Religion

He who possesses science and art,
Possesses religion as well;
He who possesses neither of these,
Had better have religion.
'Gedichte' in Goethes Werke (1948, 1952), Vol. 1, 367. Cited in Max Jammer, Einstein and Religion (2002), 79.
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Where faith commences, science ends. Both these arts of the human mind must be strictly kept apart from each other. Faith has its origin in the poetic imagination; knowledge, on the other hand, originates in the reasoning intelligence of man. Science has to pluck the blessed fruits from the tree of knowledge, unconcerned whether these conquests trench upon the poetical imaginings of faith or not.
In Ernst Haeckel and E. Ray Lankester (trans.), The History of Creation (1880), Vol. 1, 9.
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~~[No known source]~~ The human foot is a masterpiece of engineering and a work of art.
Webmaster has as yet found no primary source, and strongly doubts the authenticity of this quote. Can you help? For such an early author, evidence of this quote should abound, but it does not. It is viral on the web, but Webmaster has so far found no instance with a valid citation. This dubious quote is included here to associate with this caution.
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1. Universal CHEMISTRY is the Art of resolving mixt, compound, or aggregate Bodies into their Principles; and of composing such Bodies from those Principles. 2. It has for its Subject all the mix’d, compound, and aggregate Bodies that are and resolvable and combinable and Resolution and Combination, or Destruction and Generation, for its Object. 3. Its Means in general, are either remote or immediate; that is, either Instruments or the Operations themselves. 4. Its End is either philosophical and theoretical; or medicinal, mechanical, œconomical, and practical. 5. Its efficient Cause is the Chemist.
In Philosophical Principles of Universal Chemistry: Or, The Foundation of a Scientifical Manner of Inquiring Into and Preparing the Natural and Artificial Bodies for the Uses of Life: Both in the Smaller Way of Experiment, and the Larger Way of Business (1730), 1. Footnote to (1.): “The justness of this Definition will appear from the scope and tenour of the Work; though it is rather adapted to the perfect, than the present imperfect state of Chemistry….” Footnote to (4): “Hence universal Chemistry is commodiously resolved into several Parts or Branches, under which it must be distinctly treated to give a just notion of its due extent and usefulness. For tho’ in common acceptation of the word, Chemistry is supposed to relate chiefly to the Art of Medicine, as it supplies that Art with Remedies, this in reality is but a very small part of its use, compared with the rest; numerous other Arts, Trades, and mechanical Employments, Merchandize itself, and all natural Philosophy, being as much, and some of them more, concern’d therewith….”
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A contemporary poet has characterized this sense of the personality of art and of the impersonality of science in these words,—“Art is myself; science is ourselves.”
From An Introduction to the Study of Experimental Medicine (1865), as translated by Henry Copley Greene (1957), 43. The poet referred to was Victor Hugo, writing in William Shakespeare (1864).
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A fateful process is set in motion when the individual is released “to the freedom of his own impotence” and left to justify his existence by his own efforts. The autonomous individual, striving to realize himself and prove his worth, has created all that is great in literature, art, music, science and technology. The autonomous individual, also, when he can neither realize himself nor justify his existence by his own efforts, is a breeding call of frustration, and the seed of the convulsions which shake our world to its foundations.
In The Passionate State of Mind (1955), 18.
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A few days ago, a Master of Arts, who is still a young man, and therefore the recipient of a modern education, stated to me that until he had reached the age of twenty he had never been taught anything whatever regarding natural phenomena, or natural law. Twelve years of his life previously had been spent exclusively amongst the ancients. The case, I regret to say, is typical. Now we cannot, without prejudice to humanity, separate the present from the past.
'On the Study of Physics', From a Lecture delivered in the Royal Institution of Great Britain in the Spring of 1854. Fragments of Science for Unscientific People: A Series of Detached Essays, Lectures, and Reviews (1892), Vol. 1, 284-5.
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A first step in the study of civilization is to dissect it into details, and to classify these in their proper groups. Thus, in examining weapons, they are to be classed under spear, club, sling, bow and arrow, and so forth; among textile arts are to be ranged matting, netting, and several grades of making and weaving threads; myths are divided under such headings as myths of sunrise and sunset, eclipse-myths, earthquake-myths, local myths which account for the names of places by some fanciful tale, eponymic myths which account for the parentage of a tribe by turning its name into the name of an imaginary ancestor; under rites and ceremonies occur such practices as the various kinds of sacrifice to the ghosts of the dead and to other spiritual beings, the turning to the east in worship, the purification of ceremonial or moral uncleanness by means of water or fire. Such are a few miscellaneous examples from a list of hundreds … To the ethnographer, the bow and arrow is the species, the habit of flattening children’s skulls is a species, the practice of reckoning numbers by tens is a species. The geographical distribution of these things, and their transmission from region to region, have to be studied as the naturalist studies the geography of his botanical and zoological species.
In Primitive Culture (1871), Vol. 1, 7.
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A fool’s brain digests philosophy into folly, science into superstition, and art into pedantry. Hence University education.
In 'Maxims for Revolutionists: Education', in Man and Superman (1903), 230.
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A good work of visual art carries a person who is capable of appreciating it out of life into ecstasy.
In Art (1913), 29-30
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A graduate with a science degree asks: 'Why does it work?'
A graduate with an engineering degree asks: 'How does it work?'
A graduate with an accounting degree asks: 'How much will it cost?'
A graduate with an arts degree asks: 'Do you want fries with that?'
Anonymous
In Geoff Tibballs, The Mammoth Book of Humor (2000), 83.
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A little science is something that they must have. I should like my nephews to know what air is, and water; why we breathe, and why wood burns; the nutritive elements essential to plant life, and the constituents of the soil. And it is no vague and imperfect knowledge from hearsay I would have them gain of these fundamental truths, on which depend agriculture and the industrial arts and our health itself; I would have them know these things thoroughly from their own observation and experience. Books here are insufficient, and can serve merely as aids to scientific experiment.
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A mathematical point is the most indivisble and unique thing which art can present.
Letters, 21. 1817. In Robert Édouard Moritz, Memorabilia Mathematica (1914), 295.
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A modern branch of mathematics, having achieved the art of dealing with the infinitely small, can now yield solutions in other more complex problems of motion, which used to appear insoluble. This modern branch of mathematics, unknown to the ancients, when dealing with problems of motion, admits the conception of the infinitely small, and so conforms to the chief condition of motion (absolute continuity) and thereby corrects the inevitable error which the human mind cannot avoid when dealing with separate elements of motion instead of examining continuous motion. In seeking the laws of historical movement just the same thing happens. The movement of humanity, arising as it does from innumerable human wills, is continuous. To understand the laws of this continuous movement is the aim of history. … Only by taking an infinitesimally small unit for observation (the differential of history, that is, the individual tendencies of man) and attaining to the art of integrating them (that is, finding the sum of these infinitesimals) can we hope to arrive at the laws of history.
War and Peace (1869), Book 11, Chap. 1.
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A peculiar beauty reigns in the realm of mathematics, a beauty which resembles not so much the beauty of art as the beauty of nature and which affects the reflective mind, which has acquired an appreciation of it, very much like the latter.
From Berliner Monatsberichte (1867), 395. As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-book (1914), 185.
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A popular cliche in philosophy says that science is pure analysis or reductionism, like taking the rainbow to pieces; and art is pure synthesis, putting the rainbow together. This is not so. All imagination begins by analyzing nature.
In The Ascent of Man (1973).
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A professor … may be to produce a perfect mathematical work of art, having every axiom stated, every conclusion drawn with flawless logic, the whole syllabus covered. This sounds excellent, but in practice the result is often that the class does not have the faintest idea of what is going on. … The framework is lacking; students do not know where the subject fits in, and this has a paralyzing effect on the mind.
In A Concrete Approach to Abstract Algebra (1959), 1-2.
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A reasonable content for general education today, then, seems to me to be as follows: First, a command of the principal linguistic tools essential to the pursuit of either science or art. Second, a familiarity with the scientific method and with its principal applications to both physical and social problems. And third, appreciation and practice of the arts, including literature. Furthermore, these three fields should be so integrated toward a common purpose that the question of their relative importance would not even arise. One does not ask which is the most important leg of a tripod.
In 'Education in a Scientific Age', Can Science Save Us? (1947, 2nd ed. 1961), 74-75.
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A rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.
In Since Cezanne (1922), 40.
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A science or an art may be said to be “useful” if its development increases, even indirectly, the material well-being and comfort of men, it promotes happiness, using that word in a crude and commonplace way.
In A Mathematician's Apology (1940, 2012), 115.
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A theory is a supposition which we hope to be true, a hypothesis is a supposition which we expect to be useful; fictions belong to the realm of art; if made to intrude elsewhere, they become either make-believes or mistakes.
As quoted by William Ramsay, in 'Radium and Its Products', Harper’s Magazine (Dec 1904), 52. The first part, about suppositions, appears in a paper read by G. Johnson Stoney to the American Philosophical Society, Philadelphia (3 Apr 1903), printed in 'On the Dependence of What Apparently Takes Place in Nature Upon What Actually Occurs in the Universe of Real Existences', Proceedings of the American Philosophical Society Held at Philadelphia for Promoting Useful Knowledge (Apr-May 1903) 42, No. 173, 107. If you know a primary source for the part on fictions and mistakes, please contact Webmaster.
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Aeroplanes are not designed by science, but by art in spite of some pretence and humbug to the contrary. I do not mean to suggest that engineering can do without science, on the contrary, it stands on scientific foundations, but there is a big gap between scientific research and the engineering product which has to be bridged by the art of the engineer.
In John D. North, 'The Case for Metal Construction', The Journal of the Royal Aeronautical Society, (Jan 1923), 27, 11.
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After a certain high level of technical skill is achieved, science and art tend to coalesce in esthetics, plasticity, and form. The greatest scientists are always artists as well.
Remark (1923) as recalled in Archibald Henderson, Durham Morning Herald (21 Aug 1955) in Einstein Archive 33-257. Quoted in Alice Calaprice, The Quotable Einstein (1996), 171.
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Agriculture is the foundation of manufactures, since the productions of nature are the materials of art.
In The History of the Decline and Fall of the Roman Empire (1841), Vol. 1, 33.
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Alchemy is the art that separates what is useful from what is not by transforming it into its ultimate matter and essence.
In Labyrinthus Medicorum. Cap. V. Von dem Buch der alchimei, wie on dasselbig der arzt kein arzt sein mag. Ed. Sudhoff, vol. XI, 188-189. As cited in Walter Pagel, Paracelsus: An Introduction to Philosophical Medicine in the Era of the Renaissance (2nd rev. ed., 1982), 113.
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Alchemy. The link between the immemorial magic arts and modern science. Humankind’s first systematic effort to unlock the secrets of matter by reproducible experiment.
In Good Words to You (1987), 6.
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Alchymy, or Chymistry, is …
An Art which good men bate, and most men blame,
Which her admirers practice to their shame,
Whose plain Impostures, easie to perceive,
Not onely others, but themselves deceive.
In The Vanity of Arts and Sciences (1676), 312.
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All frescoes are as high finished as miniatures or enamels, and they are known to be unchangeable; but oil, being a body itself, will drink or absorb very little colour, and changing yellow, and at length brown, destroys every colour it is mixed with, especially every delicate colour. It turns every permanent white to a yellow and brown putty, and has compelled the use of that destroyer of colour, white lead, which, when its protecting oil is evaporated, will become lead again. This is an awful thing to say to oil painters ; they may call it madness, but it is true. All the genuine old little pictures, called cabinet pictures, are in fresco and not in oil. Oil was not used except by blundering ignorance till after Vandyke’s time ; but the art of fresco painting being lost, oil became a fetter to genius and a dungeon to art.
In 'Opinions', The Poems: With Specimens of the Prose Writings of William Blake (1885), 276-277.
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All Nature is but Art, unknown to thee;
All Chance, Direction, which thou canst not see;
All Discord, Harmony, not understood;
All partial Evil, universal Good:
And, spite of Pride, in erring Reason’s spite,
One truth is clear, “Whatever IS, is RIGHT.”
'An Essay on Man' (1733-4), Epistle I. In John Butt (ed.), The Poems of Alexander Pope (1965), 515.
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All religions, arts and sciences are branches of the same tree. All these aspirations are directed toward ennobling man’s life, lifting it from the sphere of mere physical existence and leading the individual towards freedom.
'Moral Decay', Out of My Later Years (1937, 1995), 9.
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All sensitive people agree that there is a peculiar emotion provoked by works of art.
In Art (1913), 6.
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All the human culture, all the results of art, science and technology that we see before us today, are almost exclusively the creative product of the Aryan. This very fact admits of the not unfounded inference that he alone was the founder of all higher humanity, therefore representing the prototype of all that we understand by the word 'man.' He is the Prometheus of mankind from whose shining brow the divine spark of genius has sprung at all times, forever kindling anew that fire of knowledge which illuminated the night of silent mysteries and thus caused man to climb the path to mastery over the other beings of the earth ... It was he who laid the foundations and erected the walls of every great structure in human culture.
Mein Kampf (1925-26), American Edition (1943), 290. In William Lawrence Shirer, The Rise and Fall of the Third Reich (1990), 86-87.
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All things are artificial, for nature is the art of God.
In Religio Medici (1642, 1754), pt. 1, sec. 16, 42.
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Always preoccupied with his profound researches, the great Newton showed in the ordinary-affairs of life an absence of mind which has become proverbial. It is related that one day, wishing to find the number of seconds necessary for the boiling of an egg, he perceived, after waiting a minute, that he held the egg in his hand, and had placed his seconds watch (an instrument of great value on account of its mathematical precision) to boil!
This absence of mind reminds one of the mathematician Ampere, who one day, as he was going to his course of lectures, noticed a little pebble on the road; he picked it up, and examined with admiration the mottled veins. All at once the lecture which he ought to be attending to returned to his mind; he drew out his watch; perceiving that the hour approached, he hastily doubled his pace, carefully placed the pebble in his pocket, and threw his watch over the parapet of the Pont des Arts.
Popular Astronomy: a General Description of the Heavens (1884), translated by J. Ellard Gore, (1907), 93.
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Amazing that the human race has taken enough time out from thinking about food or sex to create the arts and sciences.
City Aphorisms, Eighth Selection (1991).
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Among all highly civilized peoples the golden age of art has always been closely coincident with the golden age of the pure sciences, particularly with mathematics, the most ancient among them.
This coincidence must not be looked upon as accidental, but as natural, due to an inner necessity. Just as art can thrive only when the artist, relieved of the anxieties of existence, can listen to the inspirations of his spirit and follow in their lead, so mathematics, the most ideal of the sciences, will yield its choicest blossoms only when life’s dismal phantom dissolves and fades away, when the striving after naked truth alone predominates, conditions which prevail only in nations while in the prime of their development.
From Die Entwickelung der Mathematik im Zusammenhange mit der Ausbreitung der Kultur (1893), 4. As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 191-192. From the original German, “Bei allen Kulturvölkern ist die Blüthezeit der Kunst auch immer zeitlich eng verbunden mit einer Blüthezeit der reinen Wissenschaften, insbesondere der ältesten unter ihnen, der Mathematik.
Dieses Zusammentreffen dürfte auch nicht ein zufälliges, sondern ein natürliches, ein Ergebniss innerer Notwendigkeit sein. Wie die Kunst nur gedeihen kann, wenn der Künstler, unbekümmert um die Bedrängnisse des Daseins, den Eingebungen seines Geistes lauschen und ihnen folgen kann, so kann die idealste Wissenschaft, die Mathematik, erst dann ihre schönsten Blüthen treiben, wenn des Erdenlebens schweres Traumbild sinkt und sinkt und sinkt, wenn das Streben nach der nackten Wahrheit allein bestimmend ist, was nur bei Nationen in der Vollkraft ihrer Entwickelung vorkommt.”
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Among all the liberal arts, the first is logic, and specifically that part of logic which gives initial instruction about words. … [T]he word “logic” has a broad meaning, and is not restricted exclusively to the science of argumentative reasoning. [It includes] Grammar [which] is “the science of speaking and writing correctly—the starting point of all liberal studies.”
In John of Salisbury and Daniel D. McGarry (trans.), 'Whence grammar gets its name', The Metalogicon (2009), 37. It is footnoted: Isidore, Etym., i, 5, §1.
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Among our sensations it is difficult not to confuse what comes from the part of objects with what comes from the part of our senses. … Supposing this, one clearly sees that it is not easy to say much about colors,… and that all one can expect in such a difficult subject is to give some general rules and to derive from them consequences that can be of some use in the arts and satisfy somewhat the natural desire we have to render account of everything that appears to us.
'De la Nature des Couleurs', collected in Oeuvres (1717), 196–197.
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Among the memoirs of Kirchhoff are some of uncommon beauty. … Can anything be beautiful, where the author has no time for the slightest external embellishment?—But—; it is this very simplicity, the indispensableness of each word, each letter, each little dash, that among all artists raises the mathematician nearest to the World-creator; it establishes a sublimity which is equalled in no other art, something like it exists at most in symphonic music. The Pythagoreans recognized already the similarity between the most subjective and the most objective of the arts.
In Ceremonial Speech (15 Nov 1887) celebrating the 301st anniversary of the Karl-Franzens-University Graz. Published as Gustav Robert Kirchhoff: Festrede zur Feier des 301. Gründungstages der Karl-Franzens-Universität zu Graz (1888), 28-29, as translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-book (1914), 186. From the original German, “Gerade unter den zuletzt erwähnten Abhandlungen Kirchhoff’s sind einige von ungewöhnlicher Schönheit. … kann etwas schön sein, wo dem Autor auch zur kleinsten äusseren Ausschmückung die Zeit fehlt?–Doch–; gerade durch diese Einfachheit, durch diese Unentbehrlichkeit jedes Wortes, jedes Buchstaben, jedes Strichelchens kömmt der Mathematiker unter allen Künstlern dem Weltenschöpfer am nächsten; sie begründet eine Erhabenheit, die in keiner Kunst ein Gleiches,–Aehnliches höchstens in der symphonischen Musik hat. Erkannten doch schon die Pythagoräer die Aehnlichkeit der subjectivsten und der objectivsten der Künste.”
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Among the multitude of animals which scamper, fly, burrow and swim around us, man is the only one who is not locked into his environment. His imagination, his reason, his emotional subtlety and toughness, make it possible for him not to accept the environment, but to change it. And that series of inventions, by which man from age to age has remade his environment, is a different kind of evolution—not biological, but cultural evolution. I call that brilliant sequence of cultural peaks The Ascent of Man. I use the word ascent with a precise meaning. Man is distinguished from other animals by his imaginative gifts. He makes plans, inventions, new discoveries, by putting different talents together; and his discoveries become more subtle and penetrating, as he learns to combine his talents in more complex and intimate ways. So the great discoveries of different ages and different cultures, in technique, in science, in the arts, express in their progression a richer and more intricate conjunction of human faculties, an ascending trellis of his gifts.
The Ascent of Man (1973), 19-20.
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An inventor is one who can see the applicability of means to supply demand five years before it is obvious to those skilled in the art.
Aphorism listed Frederick Seitz, The Cosmic Inventor: Reginald Aubrey Fessenden (1866-1932) (1999), 54, being Transactions of the American Philosophical Society, Held at Philadelphia For Promoting Useful Knowledge, Vol. 86, Pt. 6.
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Anatomists have ever been engaged in contention. And indeed, if a man has not such a degree of enthusiasm, and love of the art, as will make him impatient of unreasonable opposition and of encroachments upon his discoveries and his reputation, he will hardly become considerable in Anatomy or in any branch of natural knowledge.
Medical Commentaries (1764), Introduction, iii. In Charles Coulston Gillespie (ed.), Dictionary of Scientific Biography (1972), Vol. 6, 569.
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And as to the faculties of the mind, setting aside the arts grounded upon words, and especially that skill of proceeding upon generall, and infallible rules, called Science; which very few have, and but in few things; as being not a native faculty, born within us; nor attained, (as Prudence,) while we look after somewhat else.
Leviathan (1651), ed. C. B. Macpherson (1968), Part 1, Chapter 13, 183.
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And it has been sarcastically said, that there is a wide difference between a good physician and a bad one, but a small difference between a good physician and no physician at all; by which it is meant to insinuate, that the mischievous officiousness of art does commonly more than counterbalance any benefit derivable from it.
Elements of Medical Logic (1819), 8-9.
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And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art…
From 'Preface' in Course in the Art of Measurement with Compass and Ruler (1525). As quoted in Stacey Bieler, Albrecht Durer: Artist in the Midst of Two Storms (2017), 189.
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And so many think incorrectly that everything was created by the Creator in the beginning as it is seen, that not only the mountains, valleys, and waters, but also various types of minerals occurred together with the rest of the world, and therefore it is said that it is unnecessary to investigate the reasons why they differ in their internal properties and their locations. Such considerations are very dangerous for the growth of all the sciences, and hence for natural knowledge of the Earth, particularly the art of mining, though it is very easy for those clever people to be philosophers, having learnt by heart the three words 'God so created' and to give them in reply in place of all reasons.
About the Layers of the Earth and other Works on Geology (1757), trans. A. P. Lapov (1949), 55.
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And why does England thus persecute the votaries of her science? Why does she depress them to the level of her hewers of wood and her drawers of water? Is it because science flatters no courtier, mingles in no political strife? … Can we behold unmoved the science of England, the vital principle of her arts, struggling for existence, the meek and unarmed victim of political strife?
From his review of the book by Charles Babbage, Reflections on the Decline of Science in England(1830). In Quarterly Review, 1830, 43, 323-4.
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Any artist or novelist would understand—some of us do not produce their best when directed. We expect the artist, the novelist and the composer to lead solitary lives, often working at home. While a few of these creative individuals exist in institutions or universities, the idea of a majority of established novelists or painters working at the “National Institute for Painting and Fine Art” or a university “Department of Creative Composition” seems mildly amusing. By contrast, alarm greets the idea of a creative scientist working at home. A lone scientist is as unusual as a solitary termite and regarded as irresponsible or worse.
Homage to Gala: The Life of an Independent Scholar (2000), 2.
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Any clod can have the facts; having opinions is an art.
McCabe's motto (?) as columnist for San Francisco Chronicle. Margin quote, in Institute of Electrical and Electronics Engineers (IEEE), Computer Group, Computer (1984), 89.
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Anyone who has had actual contact with the making of the inventions that built the radio art knows that these inventions have been the product of experiment and work based on physical reasoning, rather than on the mathematicians' calculations and formulae. Precisely the opposite impression is obtained from many of our present day text books and publications.
Attributed.
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Archimedes … had stated that given the force, any given weight might be moved, and even boasted, we are told, relying on the strength of demonstration, that if there were another earth, by going into it he could remove this. Hiero being struck with amazement at this, and entreating him to make good this problem by actual experiment, and show some great weight moved by a small engine, he fixed accordingly upon a ship of burden out of the king’s arsenal, which could not be drawn out of the dock without great labor and many men; and, loading her with many passengers and a full freight, sitting himself the while far off with no great endeavor, but only holding the head of the pulley in his hand and drawing the cords by degrees, he drew the ship in a straight line, as smoothly and evenly, as if she had been in the sea. The king, astonished at this, and convinced of the power of the art, prevailed upon Archimedes to make him engines accommodated to all the purposes, offensive and defensive, of a siege. … the apparatus was, in most opportune time, ready at hand for the Syracusans, and with it also the engineer himself.
Plutarch
In John Dryden (trans.), Life of Marcellus.
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Archimedes possessed so high a spirit, so profound a soul, and such treasures of highly scientific knowledge, that though these inventions [used to defend Syracuse against the Romans] had now obtained him the renown of more than human sagacity, he yet would not deign to leave behind him any commentary or writing on such subjects; but, repudiating as sordid and ignoble the whole trade of engineering, and every sort of art that lends itself to mere use and profit, he placed his whole affection and ambition in those purer speculations where there can be no reference to the vulgar needs of life; studies, the superiority of which to all others is unquestioned, and in which the only doubt can be whether the beauty and grandeur of the subjects examined, or the precision and cogency of the methods and means of proof, most deserve our admiration.
Plutarch
In John Dryden (trans.), Life of Marcellus.
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Architecture is of all the arts the one nearest to a science, for every architectural design is at its inception dominated by scientific considerations. The inexorable laws of gravitation and of statics must be obeyed by even the most imaginative artist in building.
Anonymous
In 'The Message of Greek Architecture', The Chautauquan (Apr 1906), 43, 110.
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Ars est sine arte, cujus principium est mentiri, medium laborare, et finis mendicare.
The art is devoid of art, whose beginning is falsehood, its middle labour, and its end beggary.
[On the character of the delusive science of alchemy].
Anonymous
In Henry Thomas Riley, Dictionary of Latin Quotations, Proverbs, Maxims, and Mottos (1866), 27.
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Art and religion are not professions: they are not occupations for which men can be paid. The artist and the saint do what they have to do, not to make a living, but in obedience to some mysterious necessity. They do not product to live - they live to produce.
In Art (1958), 172.
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Art and Religion are, then, two roads by which men escape from circumstance to ecstasy. Between aesthetic and religious rapture there is a family alliance. Art and Religion are means to similar states of mind.
In Art (1913), 92.
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Art and religion first; then philosophy; lastly science. That is the order of the great subjects of life, that’s their order of importance.
Dialog by the character Miss Brodie, in The Prime of Miss Jean Brodie (1961, 2004), 23-24.
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Art and science coincide insofar as both aim to improve the lives of men and women. The latter normally concerns itself with profit, the former with pleasure. In the coming age, art will fashion our entertainment out of new means of productivity in ways that will simultaneously enhance our profit and maximize our pleasure.
Brecht’s positive vision of theater in the coming age of technology, expressed in Little Organon for the Theater (1949). In The Columbia World of Quotations (1996).
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Art and science encounter each other when they seek exactitude.
AS quoted in Gus Kayafas, Estelle Jussim and Harry N. Abrams, Stopping Time: The Photographs of Harold Edgerton (2000), 24.
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Art and science have their meeting point in method.
Caxtoniana (1875), 303.
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Art and science work in quite different ways: agreed. But, bad as it may sound, I have to admit that I cannot get along as an artist without the use of one or two sciences. ... In my view, the great and complicated things that go on in the world cannot be adequately recognized by people who do not use every possible aid to understanding.
Bertolt Brecht, John Willett (trans.), Brecht on Theatre (1964), 73.
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Art arises in those strange complexities of action that are called human beings. It is a kind of human behavior. As such it is not magic, except as human beings are magical. Nor is it concerned in absolutes, eternities, “forms,” beyond those that may reside in the context of the human being and be subject to his vicissitudes. Art is not an inner state of consciousness, whatever that may mean. Neither is it essentially a supreme form of communication. Art is human behavior, and its values are contained in human behavior.
In Art Is Action: A Discussion of Nine Arts in a Modern World (1939), 1.
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Art creates an incomparable and unique effect, and, having done so, passes on to other things. Nature, upon the other hand, forgetting that imitation can be made the sincerest form of insult, keeps on repeating the effect until we all become absolutely wearied of it.
In 'Decay of Lying', The Writings of Oscar Wilde: Epigrams, Phrases and Philosophies For the Use of the Young (1907), 8.
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Art evokes the mystery without which the world would not exist.
John Mitchinson and John Lloyd, If Ignorance Is Bliss, Why Aren't There More Happy People?: Smart Quotes for Dumb Times (2009), 217.
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Art gallery? Who needs it? Look up at the swirling silver-lined clouds in the magnificent blue sky or at the silently blazing stars at midnight. How could indoor art be any more masterfully created than God’s museum of nature?
…...
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Art has a double face, of expression and illusion, just like science has a double face: the reality of error and the phantom of truth.
'The Lie of the Truth'. (1938) translated by Phil Powrie (1989). In Carol A. Dingle, Memorable Quotations (2000), 61.
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Art includes everything that stimulates the desire to live; science, everything that sharpens the desire to know. Art, even the most disinterested, the most disembodied, is the auxiliary of life.
Rémy de Gourmont and Glenn Stephen Burne (ed.), Selected Writings (1966), 170.
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Art is an expression of the world order and is, therefore, orderly, organic, subject to mathematical law, and susceptible to mathematical analysis.
In 'The Theosophic View of the Art of Architecture', The Beautiful Necessity, Seven Essays on Theosophy and Architecture (2nd ed., 1922), Preface to the Second Edition, 11.
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Art is I; science is we.
In Lily Splane, Quantum Consciousness (2004),307
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Art is meant to upset people, science reassures them.
…...
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Art is more godlike than science. Science discovers; art creates.
John Opie
As given, without citation, in Maturin Murray Ballo, Edge-Tools of Speech (1851), 25. Also in a fictional conversation in novel by Baron Edward Bulwer Lytton, Zanoni (1842), 89.
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Art is nothing but humanized science.
In Marco Treves, Artists on art, from the XIV to the XX century (1945), 437.
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Art is science in the flesh.
In 'Le Coq et l’Arlequin' (Cock and Harlequin), in A Call to Order (1926), 7.
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Art is the beautiful way of doing things. Science is the effective way of doing things. Business is the economic way of doing things.
Selected writings of Elbert Hubbard (1928), 101.
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Art is the science of human destiny.
In The Strength To Dream: Literature and the Imagination (1961), 197.
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Art is the Tree of Life. Science is the Tree of Death.
Annotations to the print (c. 1826-27), Laocoön: Jehovah & His Two Sons, Satan & Adam. An engraving of Laocoön, the well-known classical sculpture, is surrounded with many short, graffiti-like comments. These two sayings are in the blank space to the right of the picture. This was Blake's last illuminated work. Transcribed in William Blake and Edwin John Ellis (ed.), The Poetical Works of William Blake (1906), Vol. 1, 435.
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Art is unquestionably one of the purest and highest elements in human happiness. It trains the mind through the eye, and the eye through the mind. As the sun colors flowers, so does art color life.
The Pleasures of Life (1887, 2007), 99.
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Art is usually considered to be not of the highest quality if the desired object is exhibited in the midst of unnecessary lumber.
In Mathematics: Queen and Servant of Sciences (1938), 20. Bell is writing about the postulational method and the art of pruning a set of postulates to bare essentials without internal duplication.
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Art matures. It is the formal elaboration of activity, complete in its own pattern. It is a cosmos of its own.
In Art Is Action: A Discussion of Nine Arts in a Modern World (1939), 29.
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Art requires disrespect!
In William Fifield, 'Pablo Picasso: A Composite Interview', in The Paris Review 32 (Summer-Fall 1964), 66.
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Art thou the bird whom Man loves best,
The pious bird with the scarlet breast,
Our little English Robin;
The bird that comes about our doors
When autumn winds are sobbing?
From poem, 'The Redbreast and Butterfly', collected in The Poetical Works of William Wordsworth: Complete in One Volume (1828), 72.
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Art, it is said, is not a mirror, but a hammer: it does not reflect, it shapes.
In Literature and Revolution, (1924).
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Art, science, discovery and invention, startle and bewilder us at every turn, by their rapid, vast and wonderful achievements. These forces have made men lords where they were vassals, masters where they were slaves, and kings where they were subjects. They have abolished the limitations of time and space and have brought the ends of the earth together.
From speech (20 Nov 1883) delivered to the Bethel Literary and Historical Association, Washington D.C.,'It Moves, or Philosophy of Reform' , collected in The Speeches of Frederick Douglass (2018), 387.
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Arts and sciences in one and the same century have arrived at great perfection; and no wonder, since every age has a kind of universal genius, which inclines those that live in it to some particular studies; the work then, being pushed on by many hands, must go forward.
In Samuel Austin Allibone, Prose Quotations from Socrates to Macaulay (1880), 45.
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As an antiquary of a new order, I have been obliged to learn the art of deciphering and restoring these remains, of discovering and bringing together, in their primitive arrangement, the scattered and mutilated fragments of which they are composed, of reproducing in all their original proportions and characters, the animals to which these fragments formerly belonged, and then of comparing them with those animals which still live on the surface of the earth; an art which is almost unknown, and which presupposes, what had scarcely been obtained before, an acquaintance with those laws which regulate the coexistence of the forms by which the different parts of organized being are distinguished.
'Preliminary discourse', to Recherches sur les Ossemens Fossiles (1812), trans. R. Kerr Essay on the Theory of the Earth (1813), 1-2.
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As an Art, Mathematics has its own standard of beauty and elegance which can vie with the more decorative arts. In this it is diametrically opposed to a Baroque art which relies on a wealth of ornamental additions. Bereft of superfluous addenda, Mathematics may appear, on first acquaintance, austere and severe. But longer contemplation reveals the classic attributes of simplicity relative to its significance and depth of meaning.
In The Skeleton Key of Mathematics (1949), 12.
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As soon as somebody demonstrates the art of flying, settlers from our species of man will not be lacking [on the moon and Jupiter]… Given ships or sails adapted to the breezes of heaven, there will be those who will not shrink from even that vast expanse.
(1610) As translated by Edward Rosen in Kepler’s Conversation with Galileo’s Sidereal Messenger (1965), 39.
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As soon as the art of Flying is Found out, some of their Nation will make one of the first Colonies, that shall Transplant into that other World.
In A Discovery of a New World, Or, a Discourse: Tending to Prove, that 'tis Probable There May Be Another Habitable World in the Moon (1638, 1684), 159.
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As yet, if a man has no feeling for art he is considered narrow-minded, but if he has no feeling for science this is considered quite normal. This is a fundamental weakness.
In Kermit Lansner, Second-Rate Brains: A Factual, Perceptive Report by Top Scientists, Educators, Journalists, and Their Urgent Recommendations (1958), 31. Note: Dr. I.I. Rabi was chairman of President Eisenhower's Science Advisory Committee.
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At first he who invented any art that went beyond the common perceptions of man was naturally admired by men, not only because there was something useful in the inventions, but because he was thought wise and superior to the rest. But as more arts were invented, and some were directed to the necessities of life, others to its recreation, the inventors of the latter were always regarded as wiser than the inventors of the former, because their branches of knowledge did not aim at utility.
Aristotle
Metaphysics, 981b, 13-20. In Jonathan Barnes (ed.), The Complete Works of Aristotle (1984), Vol. 2, 1553.
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At the Egyptian city of Naucratis there was a famous old god whose name was Theuth; the bird which is called the Ibis was sacred to him, and he was the inventor of many arts, such as arithmetic and calculation and geometry and astronomy and draughts and dice, but his great discovery was the use of letters.
Plato
In the Phaedrus. Collected in Plato the Teacher (1897), 171. A footnote gives that Naucratis was a city in the Delta of Egypt, on a branch of the Nile.
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Attainment and science, retainment and art—the two couples keep to themselves, but when they do meet, nothing else in the world matters.
In Time and Ebb (1947) in Nine Stories(1947), 102.
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Behaviorism is the art of pulling habits out of rats.
Anonymous
In Jon Fripp, Michael Fripp and Deborah Fripp, Speaking of Science (2000), 23.
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Being a fish out of water is tough, but that’s how you evolve. I think that’s scientifically accurate—I don’t know, I had a liberal arts education.
From Commencement Speech (22 May 2017) at Grinnell College, Iowa. As quoted in Jeff Charis-Carlson, 'Comedian Kumail Nanjiani offers advice for Grinnell grads, takes on Steve King', Des Moines Register (22 May 2017).
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Being the most striking manifestation of the art of metal structures by which our engineers have shown in Europe, it [the Eiffel Tower] is one of the most striking of our modern national genius.
English version by Webmaster using Google Translate, from the original French, “Étant la plus saisissante manifestation de l’art des constructions métalliques par lesquelles nos ingénieurs se sont illustrés en Europe, elle est une des formes les plus frappantes de notre génie national moderne.” From interview of Eiffel by Paul Bourde, in the newspaper Le Temps (14 Feb 1887). Reprinted in 'Au Jour le Jour: Les Artistes Contre la Tour Eiffel', Gazette Anecdotique, Littéraire, Artistique et Bibliographique (Feb 1887), 126, and in Gustave Eiffel, Travaux Scientifiques Exécutés à la Tour de 300 Mètres de 1889 à 1900 (1900), 14. Also quoted in review of the Gustave Eiffel’s book La Tour Eiffel (1902), in Nature (30 Jan 1902), 65, 292.
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Both science and art have to do with ordered complexity.
In The Griffin (1957), 6, No 10.
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Both the man of science and the man of art live always at the edge of mystery, surrounded by it; both always, as to the measure of their creation, have had to do with the harmonization of what is new with what is familiar, with the balance between novelty and synthesis, with the struggle to make partial order in total chaos.
Address at the close of the year-long Bicentennial Celebration of Columbia University (26 Dec 54). Printed in 'Prospects in the Arts and Sciences', Bulletin of the Atomic Scientists (Feb 1955), 52.
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Büchsel in his reminiscences from the life of a country parson relates that he sought his recreation in Lacroix’s Differential Calculus and thus found intellectual refreshment for his calling. Instances like this make manifest the great advantage which occupation with mathematics affords to one who lives remote from the city and is compelled to forego the pleasures of art. The entrancing charm of mathematics, which captivates every one who devotes himself to it, and which is comparable to the fine frenzy under whose ban the poet completes his work, has ever been incomprehensible to the spectator and has often caused the enthusiastic mathematician to be held in derision. A classic illustration is the example of Archimedes….
From Die Entwickelung der Mathematik im Zusammenhange mit der Ausbreitung der Kultur (1893), 22. As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 186. From the original German, “Wenn Büchsel in seinen Erinnerungen aus dem Leben eines Landgeistlichen erzählt, dass er in der Differentialrechnung von Lacroix Erholung gesucht und geistige Erfrischung ftir seinen Beruf gefunden habe, so erkennen wir darin den grossen Vorzug, den die Beschaftigung mit der Mathematik für jemanden hat, der fern von einer Stadt lebt und auf ihre Kunstgenüsse verzichten muss. Der berückende Zauber der Mathematik, dem jeder unterliegt, der sich ihr ergiebt, und der dem holden Wahnsinn vergleichbar ist, unter dessen Bann der Dichter sein Work vollendet, ist dem betrachtenden Mitmenschen immer unbegreiflich gewesen und hat den begeisterten Mathematiker oft zum Gespött werden lassen. Als klassisches Beispiel wird jedem Schüler Archimedes…”
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But here it may be objected, that the present Earth looks like a heap of Rubbish and Ruines; And that there are no greater examples of confusion in Nature than Mountains singly or jointly considered; and that there appear not the least footsteps of any Art or Counsel either in the Figure and Shape, or Order and Disposition of Mountains and Rocks. Wherefore it is not likely they came so out of God's hands ... To which I answer, That the present face of the Earth with all its Mountains and Hills, its Promontaries and Rocks, as rude and deformed as they appear, seems to me a very beautiful and pleasant object, and with all the variety of Hills, and Valleys, and Inequalities far more grateful to behold, than a perfectly level Countrey without any rising or protuberancy, to terminate the sight: As anyone that hath but seen the Isle of Ely, or any the like Countrey must need acknowledge.
John Ray
Miscellaneous Discourses Concerning the Dissolution and Changes of the World (1692), 165-6.
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But it must not be forgotten that ... glass and porcelain were manufactured, stuffs dyed and metals separated from their ores by mere empirical processes of art, and without the guidance of correct scientific principles.
Familiar Letters on Chemistry (1851), 2.
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But most of us, however strict we may be, are apt to apply the epithet “beautiful” to objects that do not provoke that peculiar emotion produced by works of art.
In Art (1913), 12.
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But nothing is more estimable than a physician who, having studied nature from his youth, knows the properties of the human body, the diseases which assail it, the remedies which will benefit it, exercises his art with caution, and pays equal attention to the rich and the poor.
A Philosophical Dictionary: from the French? (2nd Ed.,1824), Vol. 5, 239-240.
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But the nature of our civilized minds is so detached from the senses, even in the vulgar, by abstractions corresponding to all the abstract terms our languages abound in, and so refined by the art of writing, and as it were spiritualized by the use of numbers, because even the vulgar know how to count and reckon, that it is naturally beyond our power to form the vast image of this mistress called ‘Sympathetic Nature.’
The New Science, bk. 2, para. 378 (1744, trans. 1984).
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But there is another alchemy, operative and practical, which teaches how to make the noble metals and colours and many other things better and more abundantly by art than they are made in nature. And science of this kind is greater than all those preceding because it produces greater utilities. For not only can it yield wealth and very many other things for the public welfare, but it also teaches how to discover such things as are capable of prolonging human life for much longer periods than can be accomplished by nature … Therefore this science has special utilities of that nature, while nevertheless it confirms theoretical alchemy through its works.
Opus Tertium [1266-1268], chapter 12, quoted in A. C. Crombie, Augustine to Galileo (1959), Vol. I, 69.
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But when great and ingenious artists behold their so inept performances, not undeservedly do they ridicule the blindness of such men; since sane judgment abhors nothing so much as a picture perpetrated with no technical knowledge, although with plenty of care and diligence. Now the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist; but the blame for this should be laid upon their masters, who are themselves ignorant of this art.
In The Art of Measurement (1525). As quoted in Albrecht Dürer and R.T. Nichol (trans.), 'Preface', Of the Just Shaping of Letters (1965), Book 3, 1-2.
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Call Archimedes from his buried tomb
Upon the plain of vanished Syracuse,
And feelingly the sage shall make report
How insecure, how baseless in itself,
Is the philosophy, whose sway depends
On mere material instruments—how weak
Those arts, and high inventions, if unpropped
By virtue.
In 'The Excursion', as quoted in review, 'The Excursion, Being a Portion of the Recluse, a Poem, The Edinburgh Review (Nov 1814), 24, No. 47, 26.
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Can one think that because we are engineers, beauty does not preoccupy us or that we do not try to build beautiful, as well as solid and long lasting structures? Aren’t the genuine functions of strength always in keeping with unwritten conditions of harmony? … Besides, there is an attraction, a special charm in the colossal to which ordinary theories of art do not apply.
As translated in Henry Petroski, Remaking the World: Adventures in Engineering (1998), 173. From the original French in interview of Eiffel by Paul Bourde, in the newspaper Le Temps (14 Feb 1887). Quoted in 'Au Jour le Jour: Les Artistes Contre la Tour Eiffel', Gazette Anecdotique, Littéraire, Artistique et Bibliographique (Feb 1887), 126, and in Gustave Eiffel, Travaux Scientifiques Exécutés à la Tour de 300 Mètres de 1889 à 1900 (1900), 14. “Parce que nous sommes des ingénieurs, croit-on donc que la beauté ne nous préoccupe pas dans nos constructions et qu'en même temps que nous faisons solide et durable nous ne nous efforçons pas rletfaire élégant? Est-ce que les véritables conditions de la force ne sont pas toujours conformes aux conditions secrètes de l'harmonie?.… Il y a du reste dans le colossal une attraction, un charme propre auxquels les théories d'art ordinaires ne sont guère applicables.
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Can we ring the bells backward? Can we unlearn the arts that pretend to civilize, and then burn the world? There is a march of science; but who shall beat the drums for its retreat?
Letter to George Dyer (20 Dec 1830). In Charles Lamb and Thomas Noon Talfourd (Ed.), Works: Including His Most Interesting Letters, (1867), 168.
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Chemistry has the same quickening and suggestive influence upon the algebraist as a visit to the Royal Academy, or the old masters may be supposed to have on a Browning or a Tennyson. Indeed it seems to me that an exact homology exists between painting and poetry on the one hand and modern chemistry and modern algebra on the other. In poetry and algebra we have the pure idea elaborated and expressed through the vehicle of language, in painting and chemistry the idea enveloped in matter, depending in part on manual processes and the resources of art for its due manifestation.
Attributed.
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Chemistry is an art that has furnished the world with a great number of useful facts, and has thereby contributed to the improvement of many arts; but these facts lie scattered in many different books, involved in obscure terms, mixed with many falsehoods, and joined to a great deal of false philosophy; so that it is not great wonder that chemistry has not been so much studied as might have been expected with regard to so useful a branch of knowledge, and that many professors are themselves but very superficially acquainted with it. But it was particularly to be expected, that, since it has been taught in universities, the difficulties in this study should have been in some measure removed, that the art should have been put into form, and a system of it attempted—the scattered facts collected and arranged in a proper order. But this has not yet been done; chemistry has not yet been taught but upon a very narrow plan. The teachers of it have still confined themselves to the purposes of pharmacy and medicine, and that comprehends a small branch of chemistry; and even that, by being a single branch, could not by itself be tolerably explained.
John Thomson, An Account of the Life, Lectures and Writings of William Cullen, M.D. (1832), Vol. 1, 40.
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Chemistry is the science or study of those effects and qualities of matter which are discovered by mixing bodies variously together, or applying them to one another with a view to mixture, and by exposing them to different degrees of heat, alone, or in mixture with one another, in order to enlarge our knowledge of nature, and to promote the useful arts.
From the first of a series of lectures on chemistry, collected in John Robison (ed.), Lectures on the Elements of Chemistry: Delivered in the University of Edinburgh (1807), Vol. 1, 11.
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Chemistry is the study of the effects of heat and mixture, with a view of discovering their general and subordinate laws, and of improving the useful arts.
This is an editor’s shorter restatement of the definition given by Black in the first of a series of lectures on chemistry, collected in John Robison (ed.), Lectures on the Elements of Chemistry: Delivered in the University of Edinburgh (1807), Vol. 1, 11, footnote. For the definitions as given by Black, see elsewhere on this web page.
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Chemistry: that most excellent child of intellect and art.
From presidential address to 1953 conference of Science Masters Association, Oxford, part of the Centenary Celbrations of the Chemical Society of London. As quoted in Charles Alfred Coulson, Science and Christian Belief (1956), 51.
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Chess is a unique cognitive nexus, a place where art and science come together in the human mind and are then refined and improved by experience.
In How Life Imitates Chess: Making the Right Moves, from the Board to the Boardroom (2007), 4.
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Children are to be guided to make a beginning in all the arts and sciences without interference with their spontaneity, the instinct of imitation being so used as to give them order without constraining them.
In Friedrich Fröbel and Josephine Jarvis (trans.), 'American Preface', The Education of Man (1885), vi.
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Chymia, or Alchemy and Spagyrism, is the art of resolving compound bodies into their principles and of combining these again.
Fundamenta Chymiae (1720). Trans. J. R. Partington, A History of Chemistry (1961), Vol. 2, 664.
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Chymistry. … An art whereby sensible bodies contained in vessels … are so changed, by means of certain instruments, and principally fire, that their several powers and virtues are thereby discovered, with a view to philosophy or medicine.
An antiquated definition, as quoted in Samuel Johnson, entry for 'Chymistry' in Dictionary of the English Language (1785). Also in The Quarterly Journal of Science, Literature, and the Arts (1821), 284, wherein a letter writer (only identified as “C”) points out that this definition still appeared in the, then, latest Rev. Mr. Todd’s Edition of Johnson’s Dictionary, and that it showed “very little improvement of scientific words.” The letter included examples of better definitions by Black and by Davy. (See their pages on this website.)
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Considerable obstacles generally present themselves to the beginner, in studying the elements of Solid Geometry, from the practice which has hitherto uniformly prevailed in this country, of never submitting to the eye of the student, the figures on whose properties he is reasoning, but of drawing perspective representations of them upon a plane. ...I hope that I shall never be obliged to have recourse to a perspective drawing of any figure whose parts are not in the same plane.
Quoted in Adrian Rice, 'What Makes a Great Mathematics Teacher?' The American Mathematical Monthly, (June-July 1999), 540.
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Cookery is become an art, a noble science; cooks are gentlemen.
Anatomy of Melancholy (16th Ed., 1838), 148.
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Dance … is life, or becomes it, in a way that other arts cannot attain. It is not in stone, or words or tones, but in our muscles. It is a formulation of their movements.
In Art Is Action: A Discussion of Nine Arts in a Modern World (1939), 56.
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Debate is an art form. It is about the winning of arguments. It is not about the discovery of truth. There are certain rules and procedures to debate that really have nothing to do with establishing fact–which creationists have mastered. Some of those rules are: never say anything positive about your own position because it can be attacked, but chip away at what appear to be the weaknesses in your opponent’s position. They are good at that. I don’t think I could beat the creationists at debate. I can tie them. But in courtrooms they are terrible, because in courtrooms you cannot give speeches. In a courtroom you have to answer direct questions about the positive status of your belief. We destroyed them in Arkansas. On the second day of the two-week trial we had our victory party!
…...
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Democracy is the art and science of running the circus from the monkey-cage.
A Mencken Chrestomathy (1949), 622.
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Descartes constructed as noble a road of science, from the point at which he found geometry to that to which he carried it, as Newton himself did after him. ... He carried this spirit of geometry and invention into optics, which under him became a completely new art.
A Philosophical Dictionary: from the French? (2nd Ed.,1824), Vol. 5, 110.
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Descriptive science is powerless to portray for me the bird or the flower or the friend I love; only art and literature can do that. Science deals with fixed concepts, art with fluid concepts.
From essay, 'A Prophet of the Soul', Under the Apple-Trees (1916), 210.
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Detail is the heart of realism, and the fatty degeneration of art.
In Art (1958), 149.
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Does it not seem as if Algebra had attained to the dignity of a fine art, in which the workman has a free hand to develop his conceptions, as in a musical theme or a subject for a painting? It has reached a point where every properly developed algebraical composition, like a skillful landscape, is expected to suggest the notion of an infinite distance lying beyond the limits of the canvas.
In 'Lectures on the Theory of Reciprocants', Lecture XXI, American Journal of Mathematics (Jul 1886), 9, No. 3, 136.
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Domesticated biotechnology, once it gets into the hands of housewives and children, will give us an explosion of diversity of new living creatures … New lineages will proliferate to replace those that monoculture farming and deforestation have destroyed. Designing genomes will be a personal thing, a new art form as creative as painting or sculpture. Few of the new creations will be masterpieces, but a great many will bring joy to their creators and variety to our fauna and flora.
In 'Our Biotech Future', The New York Review of Books (2007). As quoted and cited in Kenneth Brower, 'The Danger of Cosmic Genius', The Atlantic (Dec 2010).
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Dreams are true interpreters of our inclinations; but there is art required to categorize and understand them.
In The Works of Michael de Montaigne (1849), 536.
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During human progress, every science is evolved out of its corresponding art.
Education: Intellectual, Moral and Physical (1861), 77.
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During my span of life science has become a matter of public concern and the l'art pour l'art standpoint of my youth is now obsolete. Science has become an integral and most important part of our civilization, and scientific work means contributing to its development. Science in our technical age has social, economic, and political functions, and however remote one's own work is from technical application it is a link in the chain of actions and decisions which determine the fate of the human race. I realized this aspect of science in its full impact only after Hiroshima.
Max Born
My Life & My Views (1968), 49.
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Early Greek astronomers, derived their first knowledge from the Egyptians, and these from the Chaldeans, among whom the science was studied, at a very early period. Their knowledge of astronomy, which gave their learned men the name of Magi, wise men, afterwards degenerated into astrology, or the art of consulting the position of the stars to foretel events—and hence sprung the silly occupation of sooth saying, for which the Chaldeans were noted to a proverb, in later ages.
In Elements of Useful Knowledge (1806), Vol. 1, 8-9. Note “foretel” is as printed in this text.
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Electricity is but yet a new agent for the arts and manufactures, and, doubtless, generations unborn will regard with interest this century, in which it has been first applied to the wants of mankind.
In Preface to the Third Edition ofElements of Electro-Metallurgy: or The Art of Working in Metals by the Galvanic Fluid (1851), viii.
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ELECTRICITY, n. The power that causes all natural phenomena not known to be caused by something else. It is the same thing as lightning, and its famous attempt to strike Dr. Franklin is one of the most picturesque incidents in that great and good man's career. The memory of Dr. Franklin is justly held in great reverence, particularly in France, where a waxen effigy of him was recently on exhibition, bearing the following touching account of his life and services to science:
Monsieur Franqulin, inventor of electricity. This illustrious savant, after having made several voyages around the world, died on the Sandwich Islands and was devoured by savages, of whom not a single fragment was ever recovered.
Electricity seems destined to play a most important part in the arts and industries. The question of its economical application to some purposes is still unsettled, but experiment has already proved that it will propel a street car better than a gas jet and give more light than a horse.
The Cynic's Word Book (1906), 87. Also published later as The Devil's Dictionary.
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ENGINEER, in the military art, an able expert man, who, by a perfect knowledge in mathematics, delineates upon paper, or marks upon the ground, all sorts of forts, and other works proper for offence and defence. He should understand the art of fortification, so as to be able, not only to discover the defects of a place, but to find a remedy proper for them; as also how to make an attack upon, as well as to defend, the place. Engineers are extremely necessary for these purposes: wherefore it is requisite that, besides being ingenious, they should be brave in proportion. When at a siege the engineers have narrowly surveyed the place, they are to make their report to the general, by acquainting him which part they judge the weakest, and where approaches may be made with most success. Their business is also to delineate the lines of circumvallation and contravallation, taking all the advantages of the ground; to mark out the trenches, places of arms, batteries, and lodgments, taking care that none of their works be flanked or discovered from the place. After making a faithful report to the general of what is a-doing, the engineers are to demand a sufficient number of workmen and utensils, and whatever else is necessary.
In Encyclopaedia Britannica or a Dictionary of Arts and Sciences (1771), Vol. 2, 497.
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Engineering is more closely akin to the arts than perhaps any other of the professions; first, because it requires the maximum of natural aptitude and of liking for the work in order to offset other factors; second, because it demands, like the arts, an almost selfless consecration to the job; and, third, because out of the hundreds who faithfully devote themselves to the task, only a few are destined to receive any significant reward—in either money or fame.
As coauthor with Frank W. Skinner, and Harold E. Wessman, 'Foreward', Vocational Guidance in Engineering Lines (1933), vi.
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Engineering is not merely knowing and being knowledgeable, like a walking encyclopedia; engineering is not merely analysis; engineering is not merely the possession of the capacity to get elegant solutions to non-existent engineering problems; engineering is practicing the art of the organizing forces of technological change ... Engineers operate at the interface between science and society.
In Bert Scalzo, et al., Database Benchmarking: Practical Methods for Oracle & SQL Server (2007), 37.
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Thomas Corwin Mendenhall quote: Engineering is the art of construction
Engineering is the art of construction; but to limit it to this would be to restrict its meaning much within the range of the ordinary use of the word. In a broader sense, engineering includes all operations whose object is the utilization of the forces of nature in the interests of man.
From Address to the International Engineering Congress of the Columbia Exposition, Chicago, 1893. Published in Transactions of the American Society of Civil Engineers (Oct 1893), 120. Reprinted in 'Fundamental Units of Measure', Smithsonian Report for 1893 (1894), 135.
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Thomas Tredgold quote
Engineering … the great sources of power in nature (source)
Engineering is the art of directing the great sources of power in nature for the use and convenience of man.
(1828) At a meeting of the Council of the Institution of Civil Engineers of Great Britain (29 Dec 1827), by resolution, Honorary Member Thomas Tredgold was asked for a description of what a Civil Engineer is, in order that it could be put in the petition for a charter. (As cited by F.R. Hutton, in 'The Field of the Mechanical Engineer', The Engineering Digest (1908), Vol. 3 , 10.) The wording was repeated in the Charter of the Institution. (Reported in 'Society of Civil Engineers', The Gentleman's Magazine (1828), 143, 628.) The quote is excerpted from the longer definition therein.
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Engineering is the art of directing the great sources of power in nature for the use and the convenience of people. In its modern form engineering involves people, money, materials, machines, and energy. It is differentiated from science because it is primarily concerned with how to direct to useful and economical ends the natural phenomena which scientists discover and formulate into acceptable theories. Engineering therefore requires above all the creative imagination to innovate useful applications of natural phenomena. It seeks newer, cheaper, better means of using natural sources of energy and materials.
In McGraw Hill, Science and Technology Encyclopedia
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Engineering is the art of organizing and directing men and controlling the forces and materials of nature for the benefit of the human race.
1907
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Engineering is the art or science of making practical.
The Existential Pleasures of Engineering (1976), x.
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Engineering is the art or science of utilizing, directing or instructing others in the utilization of the principles, forces, properties and substance of nature in the production, manufacture, construction, operation and use of things ... or of means, methods, machines, devices and structures ...
(1920}
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Engineering is the professional art of applying science to the optimum conversion of the resources of nature to the uses of humankind.
ASCE
In American Society of Civil Engineers, Engineering Issues (1964), 90-92, 49. Other sources attribute, without citation, to Ralph J. Smith (1962).
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Engineering is the science and art of efficient dealing with materials and forces … it involves the most economic design and execution … assuring, when properly performed, the most advantageous combination of accuracy, safety, durability, speed, simplicity, efficiency, and economy possible for the conditions of design and service.
As coauthor with Frank W. Skinner, and Harold E. Wessman, Vocational Guidance in Engineering Lines (1933), 6.
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Thomas Corwin Mendenhall quote: be interested in anything relating to progress in metrology
Engineering…is both an art and a science, and as a science it consists for the most part of mathematics applied to physics and mechanics. It is of necessity, therefore, a measuring science, and a congress of engineers ought, in the nature of things, to be interested in anything relating to progress in metrology.
From Address to the International Engineering Congress of the Columbia Exposition, Chicago, 1893. Published in Transactions of the American Society of Civil Engineers (Oct 1893), 120. Reprinted in 'Fundamental Units of Measure', Smithsonian Report for 1893 (1894), 135.
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Essentially only one thing in life interests us: our psychical constitution, the mechanism of which was and is wrapped in darkness. All human resources, art, religion, literature, philosophy and historical sciences, all of them join in bringing lights in this darkness. But man has still another powerful resource: natural science with its strictly objective methods. This science, as we all know, is making huge progress every day. The facts and considerations which I have placed before you at the end of my lecture are one out of numerous attempts to employ a consistent, purely scientific method of thinking in the study of the mechanism of the highest manifestations of life in the dog, the representative of the animal kingdom that is man's best friend.
'Physiology of Digestion', Nobel Lecture (12 Dec 1904). In Nobel Lectures: Physiology or Medicine 1901-1921 (1967), 134
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Every art should become science, and every science should become art.
In Friedrich Schlegel, translated by Ernst Behler and Roman Struc, Dialogue on Poetry and Literary Aphorisms (1797, trans. 1968), 132.
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Every great anthropologic and paleontologic discovery fits into its proper place, enabling us gradually to fill out, one after another, the great branching lines of human ascent and to connect with the branches definite phases of industry and art. This gives us a double means of interpretation, archaeological and anatomical. While many branches and links in the chain remain to be discovered, we are now in a position to predict with great confidence not only what the various branches will be like but where they are most like to be found.
In Henry Fairfield Osborn, 'Osborn States the Case For Evolution', New York Times (12 Jul 1925), XX1
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Every science begins as philosophy and ends as art.
In The Story of Philosophy (1926, 1961), 2.
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Every science touches art at some points—every art has its scientific side.
In Armand Trousseau and John Rose Cormack (trans.), Lectures on Clinical Medicine: Delivered at the Hôtel-Dieu, Paris (1869), Vol. 2, 40.
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Every work of science great enough to be well remembered for a few generations affords some exemplification of the defective state of the art of reasoning of the time when it was written; and each chief step in science has been a lesson in logic.
'The Fixation of Belief (1877). In Justus Buchler, The Philosophy of Pierce (1940), 6.
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Every writer must reconcile, as best he may, the conflicting claims of consistency and variety, of rigour in detail and elegance in the whole. The present author humbly confesses that, to him, geometry is nothing at all, if not a branch of art.
Concluding remark in preface to Treatise on Algebraic Plane Curves (1931), x.
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Facts do not “speak for themselves”; they are read in the light of a theory. Creative thought, in science as much as in the arts, is the motor of changing opinion.
In Perspectives in Biological Medicine (1985).
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First follow Nature, and your judgment frame
By her just standard, which is still the same:
Unerring nature, still divinely bright,
One clear, unchanged, and universal light,
Life, force, and beauty must to all impart,
At once the source, and end, and test of art.
#039;Essay On Criticism#039;, Miscellaneous Poems and Translations: by Several Hands (1720), 38.
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First of all a natural talent is required; for when Nature opposes, everything else is in vain; but when Nature leads the way to what is most excellent, instruction in the art takes place...
The Genuine Works of Hippocrates, trans. Francis Adams (1886), Vol. 2, 284.
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For chemistry is no science form’d à priori; ’tis no production of the human mind, framed by reasoning and deduction: it took its rise from a number of experiments casually made, without any expectation of what follow’d; and was only reduced into an art or system, by collecting and comparing the effects of such unpremeditated experiments, and observing the uniform tendency thereof. So far, then, as a number of experimenters agree to establish any undoubted truth; so far they may be consider'd as constituting the theory of chemistry.
From 'The Author's Preface', in A New Method of Chemistry (1727), vi.
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Form your life humanly, and you have done enough: but you will never reach the height of art and the depth of science without something divine.
Idea 68. In Friedrich Schlegel, translated by Ernst Behler and Roman Struc, Dialogue on Poetry and Literary Aphorisms (trans. 1968), 155.
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Fractal is a word invented by Mandelbrot to bring together under one heading a large class of objects that have [played] … an historical role … in the development of pure mathematics. A great revolution of ideas separates the classical mathematics of the 19th century from the modern mathematics of the 20th. Classical mathematics had its roots in the regular geometric structures of Euclid and the continuously evolving dynamics of Newton. Modern mathematics began with Cantor’s set theory and Peano’s space-filling curve. Historically, the revolution was forced by the discovery of mathematical structures that did not fit the patterns of Euclid and Newton. These new structures were regarded … as “pathological,” .… as a “gallery of monsters,” akin to the cubist paintings and atonal music that were upsetting established standards of taste in the arts at about the same time. The mathematicians who created the monsters regarded them as important in showing that the world of pure mathematics contains a richness of possibilities going far beyond the simple structures that they saw in Nature. Twentieth-century mathematics flowered in the belief that it had transcended completely the limitations imposed by its natural origins.
Now, as Mandelbrot points out, … Nature has played a joke on the mathematicians. The 19th-century mathematicians may not have been lacking in imagination, but Nature was not. The same pathological structures that the mathematicians invented to break loose from 19th-century naturalism turn out to be inherent in familiar objects all around us.
From 'Characterizing Irregularity', Science (12 May 1978), 200, No. 4342, 677-678. Quoted in Benoit Mandelbrot, The Fractal Geometry of Nature (1977, 1983), 3-4.
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Franklin brought down the lightning, Morse made it a bearer of dispatches, and in answer to the increasing human demands of progressive human nature, Daguerre has taught the god of day to deck the world with pictures far beyond the art of ancient masters.
In Henry Louis Gates, Jr. (ed.), The Portable Frederick Douglass (2016), 350.
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From that night on, the electron—up to that time largely the plaything of the scientist—had clearly entered the field as a potent agent in the supplying of man's commercial and industrial needs… The electronic amplifier tube now underlies the whole art of communications, and this in turn is at least in part what has made possible its application to a dozen other arts. It was a great day for both science and industry when they became wedded through the development of the electronic amplifier tube.
The Autobiography of Robert A. Millikan (1951), 136.
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From the physician, as emphatically the student of Nature, is expected not only an inquiry into cause, but an investigation of the whole empire of Nature and a determination of the applicability of every species of knowledge to the improvement of his art.
In 'An Inquiry, Analogical and Experimental, into the Different Electrical conditions of Arterial and Venous Blood', New Orleans Medical and Surgical Journal (1853-4), 10, 584-602 & 738-757. As cited in George B. Roth, 'Dr. John Gorrie—Inventor of Artificial Ice and Mechanical Refrigeration', The Scientific Monthly (May 1936) 42 No. 5, 464-469.
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Further, it will not be amiss to distinguish the three kinds and, as it were, grades of ambition in mankind. The first is of those who desire to extend their own power in their native country, a vulgar and degenerate kind. The second is of those who labor to extend the power and dominion of their country among men. This certainly has more dignity, though not less covetousness. But if a man endeavor to establish and extend the power and dominion of the human race itself over the universe, his ambition (if ambition it can be called) is without doubt both a more wholesome and a more noble thing than the other two. Now the empire of man over things depends wholly on the arts and sciences. For we cannot command nature except by obeying her.
From Novum Organum (1620), Book 1, Aphorism 129. Translated as The New Organon: Aphorisms Concerning the Interpretation of Nature and the Kingdom of Man), collected in James Spedding, Robert Ellis and Douglas Heath (eds.), The Works of Francis Bacon (1857), Vol. 4, 114.
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Genius is supposed to be a power of producing excellences which are put of the reach of the rules of art: a power which no precepts can teach, and which no industry can acquire.
From 'A Discourse Delivered to the Students of the Royal Academy, on the Distribution of Prizes' (10 Dec 1774), in Seven Discourses Delivered in the Royal Academy (1778), 202-203.
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Geology is intimately related to almost all the physical sciences, as is history to the moral. An historian should, if possible, be at once profoundly acquainted with ethics, politics, jurisprudence, the military art, theology; in a word, with all branches of knowledge, whereby any insight into human affairs, or into the moral and intellectual nature of man, can be obtained. It would be no less desirable that a geologist should be well versed in chemistry, natural philosophy, mineralogy, zoology, comparative anatomy, botany; in short, in every science relating to organic and inorganic nature. With these accomplishments the historian and geologist would rarely fail to draw correct and philosophical conclusions from the various monuments transmitted to them of former occurrences.
Principles of Geology (1830-3), Vol. 1, 2-3.
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Geometry is founded in mechanical practice, and is nothing but that part of universal mechanics which accurately proposes and demonstrates the art of measuring.
In Principia (1687), Preface, translated by Andrew Motte (1729), in Florian Cajori (ed.), Sir Isaac Newton's Mathematical Principles of Natural Philosophy (1934), xvii.
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Given one has before oneself a strong, healthy, youth rich in spirited blood and a powerless, weak, cachectic old man scarcely capable of breathing. If now the physician wishes to practise the rejuvenating art on the latter, he should make silver tubes which fit into each other: open then the artery of the healthy person and introduce one of the tubes into it and fasten it into the artery; thereupon he opens also the artery of the ill person...
[First detailed description of blood transfusion (1615)]
In N.S.R. Maluf, 'History of Blood Transfusion', Journal of the History of Medicine and Allied Sciences (1954), 9, No. 1, 59.
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God put a secret art into the forces of Nature so as to enable it to fashion itself out of chaos into a perfect world system.
Universal Natural History and Theory of the Heavens (1755), editted and translated by William Hastie in Kant's Cosmogony (1900), 27.
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Goethe's devil is a cultivated personage and acquainted with the modern sciences; sneers at witchcraft and the black art even while employing them, and doubts most things, nay, half disbelieves even his own existence.
In James Wood, Dictionary of Quotations from Ancient and Modern, English and Foreign Sources (1893), 128:24.
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Gold and iron at the present day, as in ancient times, are the rulers of the world; and the great events in the world of mineral art are not the discovery of new substances, but of new and rich localities of old ones.
Lecture (26 Npv 1851), to the London Society of Arts, 'The General Bearing of the Great Exhibition on the Progress of Art and Science', collected in Lectures on the Results of the Great Exhibition of 1851' (1852), 3.
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Gradually, … the aspect of science as knowledge is being thrust into the background by the aspect of science as the power of manipulating nature. It is because science gives us the power of manipulating nature that it has more social importance than art. Science as the pursuit of truth is the equal, but not the superior, of art. Science as a technique, though it may have little intrinsic value, has a practical importance to which art cannot aspire.
In The Scientific Outlook (1931, 2009), xxiv.
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Great innovations, whether in art or literature, in science or in nature, seldom take the world by storm. They must be understood before they can be estimated, and must be cultivated before they can be understood.
In Tertiary History of the Grand Cañon District: With Atlas (1882), 142.
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Great science is an art.
Anonymous
In Leonard and Thelma Spinrad, Speaker's Lifetime Library (1979), 220.
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Guided only by their feeling for symmetry, simplicity, and generality, and an indefinable sense of the fitness of things, creative mathematicians now, as in the past, are inspired by the art of mathematics rather than by any prospect of ultimate usefulness.
In The Queen of the Sciences (1938), 2.
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Happy is he who bears a god within himself, an ideal of beauty, and obeys him: an ideal of art, an ideal of the virtues of the Gospel. These are the living springs of great thoughts and great actions. All are illuminated by reflections of the sublime.
Speech (27 Apr 1882) on his reception into the Académie Française, as translated in Maurice Benjamin Strauss, Familiar Medical Quotations (1968), 490.
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He that desireth to acquire any art or science seeketh first those means by which that art or science is obtained.
In An Apology For the True Christian Divinity (1825), 15.
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He who is ignorant of the art of arithmetic is but half a man.
As quoted in, without source, in John Holmes Agnew, 'Pleasures, Objects, and Advantages of Literature Indicated', The Eclectic Museum of Foreign Literature, Science and Art (Dec 1843), 499. Reprinted from Frazier’s Magazine. The quote alone is seen earlier, attributed to only “a writer of other times” in Ezra Sampson, The Brief Remarker on the Ways of Man (1818), 411.
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He who posseses science and art, has religion; he who possesses neither science nor art, let him get religion.
Quoted in Miguel De Unamuno, Tragic Sense of Life (1913), translated by John Ernest Crawford Flitch (1954), 210.
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He who would do good to another must do it in Minute Particulars: General Good is the plea of the scoundrel, hypocrite, and flatterer, For Art and Science cannot exist but in minutely organized particulars.
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He who would do good to another must do it in Minute Particulars: General Good is the plea of the scoundrel, hypocrite, and flatterer, For Art and Science cannot exist but in minutely organized particulars.
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Higher Mathematics is the art of reasoning about numerical relations between natural phenomena; and the several sections of Higher Mathematics are different modes of viewing these relations.
In Higher Mathematics for Students of Chemistry and Physics (1902), Prologue, xvii.
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How can cosmic religious feeling be communicated from one person to another, if it can give rise to no definite notion of a God and no theology? In my view, it is the most important function of art and science to awaken this feeling and keep it alive in those who are receptive to it.
…...
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How often people speak of art and science as though they were two entirely different things, with no interconnection. An artist is emotional, they think, and uses only his intuition; he sees all at once and has no need of reason. A scientist is cold, they think, and uses only his reason; he argues carefully step by step, and needs no imagination. That is all wrong. The true artist is quite rational as well as imaginative and knows what he is doing; if he does not, his art suffers. The true scientist is quite imaginative as well as rational, and sometimes leaps to solutions where reason can follow only slowly; if he does not, his science suffers.
'Prometheus.' The Roving Mind (1983), Chap 25.
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Humanities are inseparable from human creations, whether these be philosophic, scientific, technical, or artistic and literary. They exist in everything to which men have imparted their virtues or vices, their joys or sufferings. There are blood and tears in geometry as well as in art, blood and tears but also innumerable joys, the purest that men can experience themselves or share with others.
In A History of Science: Hellenistic Science and Culture in the Last Three Centuries B.C. (1959), ix.
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I agree with Schopenhauer that one of the most powerful motives that attracts people to science and art is the longing to escape from everyday life.
Quoted, without citation in Bulletin of the Atomic Scientists (Feb 1959), 85. If you know a primary source, please contact Webmaster.
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I am interested in mathematics only as a creative art.
In A Mathematician’s Apology (1940, reprint with Foreward by C.P. Snow 1992), 115.
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I believe with Schopenhauer that one of the strongest motives that lead men to art and science is escape from everyday life with its painful crudity and hopeless dreariness, from the fetters of one’s own ever shifting desires. A finely tempered nature longs to escape from personal life into the world of objective perception and thought; this desire may be compared with the townsman’s irresistible longing to escape from his noisy, cramped surroundings into the silence of high mountains, where the eye ranges freely through the still, pure air and fondly traces out the restful contours apparently built for eternity.
Address at The Physical Society, Berlin (1918) for Max Planck’s 60th birthday, 'Principles of Research', collected in Essays in Science (1934) 2.
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I do ... humbly conceive (tho' some possibly may think there is too much notice taken of such a trivial thing as a rotten Shell, yet) that Men do generally rally too much slight and pass over without regard these Records of Antiquity which Nature have left as Monuments and Hieroglyphick Characters of preceding Transactions in the like duration or Transactions of the Body of the Earth, which are infinitely more evident and certain tokens than any thing of Antiquity that can be fetched out of Coins or Medals, or any other way yet known, since the best of those ways may be counterfeited or made by Art and Design, as may also Books, Manuscripts and Inscriptions, as all the Learned are now sufficiently satisfied, has often been actually practised; but those Characters are not to be Counterfeited by all the Craft in the World, nor can they be doubted to be, what they appear, by anyone that will impartially examine the true appearances of them: And tho' it must be granted, that it is very difficult to read them, and to raise a Chronology out of them, and to state the intervalls of the Times wherein such, or such Catastrophies and Mutations have happened; yet 'tis not impossible, but that, by the help of those joined to ' other means and assistances of Information, much may be done even in that part of Information also.
Lectures and Discourses of Earthquakes (1668). In The Posthumous Works of Robert Hooke, containing his Cutlerian Lectures and other Discourses read at the Meetings of the Illustrious Royal Society (1705), 411.
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I do believe that a scientist is a freelance personality. We’re driven by an impulse which is one of curiosity, which is one of the basic instincts that a man has. So we are … driven … not by success, but by a sort of passion, namely the desire of understanding better, to possess, if you like, a bigger part of the truth. I do believe that science, for me, is very close to art.
From 'Asking Nature', collected in Lewis Wolpert and Alison Richards (eds.), Passionate Minds: The Inner World of Scientists (1997), 197.
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I do not conceive of any manifestation of culture, of science, of art, as purposes in themselves. I think the purpose of science and culture is man.
In G. Barry Golson (ed.) The Playboy Interview (1981), 254.
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I have indeed lived and worked to my taste either in art or science. What more could a man desire? Knowledge has always been my goal. There is much that I shall leave behind undone…but something at least I was privileged to leave for the world to use, if it so intends…As the Latin poet said I will leave the table of the living like a guest who has eaten his fill. Yes, if I had another life to spend, I certainly would not waste it. But that cannot be, so why complain?
Letter to R. C. Craw, quoted in Tuatara (1984) Vol. 27 (1): 5-7
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I have never looked upon ease and happiness as ends in themselves–this critical basis I call the ideal of a pigsty. The ideals that have lighted my way, and time after time have given me new courage to face life cheerfully, have been Kindness, Beauty, and Truth. Without the sense of kinship with men of like mind, without the occupation with the objective world, the eternally unattainable in the field of art and scientific endeavors, life would have seemed empty to me. The trite objects of human efforts–possessions, outward success, luxury–have always seemed to me contemptible.
In 'What I Believe,' Forum and Century (1930).
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I have no patience with the doctrine of “pure science,”—that science is science only as it is uncontaminated by application in the arts of life: and I have no patience with the spirit that considers a piece of work to be legitimate only as it has direct bearing on the arts and affairs of men. We must discover all things that are discoverable and make a record of it: the application will take care of itself.
In 'The Survey Idea in Country Life', collected in John Phelan, Readings in Rural Sociology (1920), 480.
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I have no right to consider anything a work of art to which I cannot react emotionally; and I have no right to look for the essential quality in anything that I have not felt to be a work of art.
In Art (1913), 9.
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I imagined in the beginning, that a few experiments would determine the problem; but experience soon convinced me, that a very great number indeed were necessary before such an art could be brought to any tolerable degree of perfection.
Upon pursuing the ''
Preface to An Essay on Combustion with a View to a New Art of Dyeing and Painting (1794), iii. In Marilyn Bailey Ogilvie and Joy Dorothy Harvey, The Biographical Dictionary of Women in Science (2000), 478.
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I know with sure and certain knowledge that a man’s work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.
In Lyrical and Critical Essays (1967), 14.
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I like to look at mathematics almost more as an art than as a science; for the activity of the mathematician, constantly creating as he is, guided though not controlled by the external world of the senses, bears a resemblance, not fanciful I believe but real, to the activity of an artist, of a painter let us say. Rigorous deductive reasoning on the part of the mathematician may be likened here to technical skill in drawing on the part of the painter. Just as no one can become a good painter without a certain amount of skill, so no one can become a mathematician without the power to reason accurately up to a certain point. Yet these qualities, fundamental though they are, do not make a painter or mathematician worthy of the name, nor indeed are they the most important factors in the case. Other qualities of a far more subtle sort, chief among which in both cases is imagination, go to the making of a good artist or good mathematician.
From 'Fundamental Conceptions and Methods in Mathematics', Bulletin American Mathematical Society (1904), 9, 133. As cited in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 182.
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I read … that geometry is the art of making no mistakes in long calculations. I think that this is an underestimation of geometry. Our brain has two halves: one is responsible for the multiplication of polynomials and languages, and the other half is responsible for orientation of figures in space and all the things important in real life. Mathematics is geometry when you have to use both halves.
In S.H. Lui, 'An Interview with Vladimir Arnol’d', Notices of the AMS (Apr 1997) 44, No. 4, 438. Reprinted from the Hong Kong Mathematics Society (Feb 1996).
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I think a strong claim can be made that the process of scientific discovery may be regarded as a form of art. This is best seen in the theoretical aspects of Physical Science. The mathematical theorist builds up on certain assumptions and according to well understood logical rules, step by step, a stately edifice, while his imaginative power brings out clearly the hidden relations between its parts. A well constructed theory is in some respects undoubtedly an artistic production. A fine example is the famous Kinetic Theory of Maxwell. ... The theory of relativity by Einstein, quite apart from any question of its validity, cannot but be regarded as a magnificent work of art.
Responding to the toast, 'Science!' at the Royal Academy of the Arts in 1932.)
Quoted in Lawrence Badash, 'Ernest Rutherford and Theoretical Physics,' in Robert Kargon and Peter Achinstein (eds.) Kelvin's Baltimore Lectures and Modern Theoretical Physics: Historical and Philosophical Perspectives (1987), 352.
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I think, considering what they have had to fight against, that women have been wonderful. I see no end to their development in science, as in the arts and professions and in business, if they have the will to work.
In Genevieve Parkhurst, 'Dr. Sabin, Scientist: Winner Of Pictorial Review’s Achievement Award', Pictorial Review (Jan 1930), 71.
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I venture to maintain, that, if the general culture obtained in the Faculty of Arts were what it ought to be, the student would have quite as much knowledge of the fundamental principles of Physics, of Chemistry, and of Biology, as he needs, before he commenced his special medical studies. Moreover, I would urge, that a thorough study of Human Physiology is, in itself, an education broader and more comprehensive than much that passes under that name. There is no side of the intellect which it does not call into play, no region of human knowledge into which either its roots, or its branches, do not extend; like the Atlantic between the Old and the New Worlds, its waves wash the shores of the two worlds of matter and of mind; its tributary streams flow from both; through its waters, as yet unfurrowed by the keel of any Columbus, lies the road, if such there be, from the one to the other; far away from that Northwest Passage of mere speculation, in which so many brave souls have been hopelessly frozen up.
'Universities: Actual and Ideal' (1874). In Collected Essays (1893), Vol. 3, 220.
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I was reading in an article on Bizet not long ago that music has ceased to be an art and has become a science—in which event it must have a mathematical future!
In letter to H.E. Krehbiel (1887), collected in Elizabeth Bisland The Writings of Lafcadio Hearn (1922), Vol. 14, 8.
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I wept when I saw the color of the sea—how can a mere color make one cry? Or moonlight, or the luminescence of the sea in a pitch black night? … But if there is one thing which is more worthy of our admiration than natural beauty, it is the art of men who have conquered this never-ending sea so Fully in a struggle that has been going since the time of the Phoenicians.
In an article 'Voyage of a German Professor to Eldorado' describing his summer 1905 travels for a series of lectures at Berkeley in America. As quoted in, George Greenstein, 'The Bulldog: A Profile of Ludwig Boltzmann', The American Scholar (1 Jan 1999), 102.
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I will be moving through the book as if on a train looking out at the beautiful landscape of the Arts.
Anonymous
An opinion posted on yougov.com (13 Jan 2017) describing reading a novel set after the Russian Revolution with much historical background, stimulating the reader’s interest on the literature, painting and performing arts of the time.
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I would have you to observe that the difficulty & mystery which often appear in matters of science & learning are only owing to the terms of art used in them, & if many gentlemen had not been rebuted by the uncouth dress in which science was offered to them, we must believe that many of these who now shew an acute & sound judgement in the affairs of life would also in science have excelled many of those who are devoted to it & who were engaged in it only by necessity & a phlegmatic temper. This is particularly the case with respect to chemistry, which is as easy to be comprehended as any of the common affairs of life, but gentlemen have been kept from applying to it by the jargon in which it has been industriously involved.
Cullen MSS, No. 23, Glasgow University library. In A. L. Donovan, Philosophical Chemistry In the Scottish Enlightenment: The Doctrines and Discoveries of Wllliam Cullen and Joseph Black (1975), 111.
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I would not want to generalize to the extent that adversity is the only road to effective innovative science, or art, but the progress of science is often spectacularly disorderly. James Joyce once commented that he survived by “cunning and exile”.
In 'Homo Scientificus According to Beckett', collected in William Beranek, Jr. (ed.),Science, Scientists, and Society, (1972), 135-. Excerpted in Ann E. Kammer, Science, Sex, and Society (1979), 278.
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If any layman were to ask a number of archaeologists to give, on the spur of the moment, a definition of archaeology, I suspect that such a person might find the answers rather confusing. He would, perhaps, sympathize with Socrates who, when he hoped to learn from the poets and artisans something about the arts they practised, was forced to go away with the conviction that, though they might themselves be able to accomplish something, they certainly could give no clear account to others of what they were trying to do.
Opening statement in lecture at Columbia University (8 Jan 1908), 'Archaeology'. Published by the Columbia University Press (1908).
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If it were always necessary to reduce everything to intuitive knowledge, demonstration would often be insufferably prolix. This is why mathematicians have had the cleverness to divide the difficulties and to demonstrate separately the intervening propositions. And there is art also in this; for as the mediate truths (which are called lemmas, since they appear to be a digression) may be assigned in many ways, it is well, in order to aid the understanding and memory, to choose of them those which greatly shorten the process, and appear memorable and worthy in themselves of being demonstrated. But there is another obstacle, viz.: that it is not easy to demonstrate all the axioms, and to reduce demonstrations wholly to intuitive knowledge. And if we had chosen to wait for that, perhaps we should not yet have the science of geometry.
In Gottfried Wilhelm Leibnitz and Alfred Gideon Langley (trans.), New Essays Concerning Human Understanding (1896), 413-414.
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If it were customary to send daughters to school like sons, and if they were then taught the natural sciences, they would learn as thoroughly and understand the subtleties of all the arts and sciences as well as sons. And by chance there happen to be such women, for, as I touched on before, just as women have more delicate bodies than men, weaker and less able to perform many tasks, so do they have minds that are freer and sharper whenever they apply themselves.
The Book of the City of Ladies (1405), part 1, section 27. Trans. Earl Jeffrey Richards (1982), 63.
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If mankind is to profit freely from the small and sporadic crop of the heroically gifted it produces, it will have to cultivate the delicate art of handling ideas. Psychology is now able to tell us with reasonable assurance that the most influential obstacle to freedom of thought and to new ideas is fear; and fear which can with inimitable art disguise itself as caution, or sanity, or reasoned skepticism, or on occasion even as courage.
'The Commemoration of Great Men', Hunterian Oration, Royal College of Surgeons (15 Feb 1952) British Medical Journal (20 Feb 1932), 1, 317-20. The Collected Papers of Wilfred Trotter, FRS (1941), 30.
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If politics is the art of the possible, research is surely the art of the soluble. Both are immensely practical-minded affairs.
In 'The Act of Creation', a book review (of Arthur Koestler’s book, The Act of Creation) in New Statesman (19 Jun 1964). Collected in The Strange Case of the Spotted Mice and Other Classic Essays on Science (1996), 42. Also collected in Medawar’s The Art of the Soluble: Creativity and Originality in Science (1967), 7.
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If someone separated the art of counting and measuring and weighing from all the other arts, what was left of each (of the others) would be, so to speak, insignificant.
Plato
Philebus 55e. Trans. R. W. Sharples.
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If the love of surgery is a proof of a person’s being adapted for it, then certainly I am fitted to he a surgeon; for thou can’st hardly conceive what a high degree of enjoyment I am from day to day experiencing in this bloody and butchering department of the healing art. I am more and more delighted with my profession.
Letter to his father (1853). In John Vaughan, 'Lord Lister', The Living Age (1918), 297, 361. Reprinted from The Fortnightly Review (1918), 109, 417- .
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If thou art able, O stranger, to find out all these things and gather them together in your mind, giving all the relations, thou shalt depart crowned with glory and knowing that thou hast been adjudged perfect in this species of wisdom.
From a letter to Eratosthenes, the chief librarian at Alexandria, containing the Cattle Problem, an exceedingly difficult calculation involving huge numbers (which was not solved exactly until the use of a supercomputer in 1981). In David J. Darling, The Universal Book of Mathematics (2004), 23. The debate by scholars regarding whether Archimedes is the true author is in T. L. Heath (ed.), The Works of Archimedes (1897), xxxiv.
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If two masters of the same art differ in their statement of it, in all likelihood the insoluble problem lies midway between them.
In The Maxims and Reflections of Goethe (1906), 186.
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If Watson and I had not discovered the [DNA] structure, instead of being revealed with a flourish it would have trickled out and that its impact would have been far less. For this sort of reason Stent had argued that a scientific discovery is more akin to a work of art than is generally admitted. Style, he argues, is as important as content. I am not completely convinced by this argument, at least in this case.
What Mad Pursuit (1990), 76.
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If we view mathematical speculations with reference to their use, it appears that they should be divided into two classes. To the first belong those which furnish some marked advantage either to common life or to some art, and the value of such is usually determined by the magnitude of this advantage. The other class embraces those speculations which, though offering no direct advantage, are nevertheless valuable in that they extend the boundaries of analysis and increase our resources and skill. Now since many investigations, from which great advantage may be expected, must be abandoned solely because of the imperfection of analysis, no small value should be assigned to those speculations which promise to enlarge the field of anaylsis.
In Novi Comm. Petr., Vol. 4, Preface.
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If you ask ... the man in the street ... the human significance of mathematics, the answer of the world will be, that mathematics has given mankind a metrical and computatory art essential to the effective conduct of daily life, that mathematics admits of countless applications in engineering and the natural sciences, and finally that mathematics is a most excellent instrumentality for giving mental discipline... [A mathematician will add] that mathematics is the exact science, the science of exact thought or of rigorous thinking.
Address (28 Mar 1912), Michigan School Masters' Club, Ann Arbor, 'The Humanization of the Teaching of Mathematics. Printed in Science (26 Apr 1912). Collected in The Human Worth of Rigorous Thinking: Essays and Addresses (1916), 65-66.
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If you want to do big things, you’ve got to have big ideas … And not much is bigger than a whale.
Explaining his artist’s passion to paint, throughout the world, numerous huge murals showcasing whales. As quoted in M.J. Prest, 'Ocean View: The Face of Philanthropy', Chronicle of Philanthropy (28 Oct 2004), 17, No. 2.
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Improvements in industry can be left to chance in the hope that someone, sometime, will think of something useful. that some good invention will show up. The other way is to organize so that new knowledge shall always be coming from the researches in the fundamental sciences and engineering arts on which business is based. From that steady stream will arise inventions and new methods. This is the way of Bell Laboratories.
From a Bell Telephone System advertisement, 'The Search That Never Ends', placed, for example, in Life Magazine (17 Jan 1944), 33.
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In a purely technical sense, each species of higher organism—beetle, moss, and so forth, is richer in information than a Caravaggio painting, Mozart symphony, or any other great work of art. Consider the typical case of the house mouse, Mus musculus. Each of its cells contains four strings of DNA, each of which comprises about a billion nucleotide pairs organized into a hundred thousand structural nucleotide pairs, organized into a hundred thousand structural genes. … The full information therein, if translated into ordinary-sized printed letters, would just about fill all 15 editions of the Encyclopaedia Britannica published since 1768.
'The Biological Diversity Crisis: A Challenge to Science', Issues in Science and Technology (Fall 1985), 2:1, 22. Reprinted in Nature Revealed: Selected Writings, 1949-2006 (2006), 622.
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In all spheres of science, art, skill, and handicraft it is never doubted that, in order to master them, a considerable amount of trouble must be spent in learning and in being trained. As regards philosophy, on the contrary, there seems still an assumption prevalent that, though every one with eyes and fingers is not on that account in a position to make shoes if he only has leather and a last, yet everybody understands how to philosophize straight away, and pass judgment on philosophy, simply because he possesses the criterion for doing so in his natural reason.
From Phänomenologie des Geistes (1807) as translated by J.B. Baillie in 'Preface', The Phenomenology of Mind (1910), Vol. 1, 67.
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In early times, medicine was an art, which took its place at the side of poetry and painting; to-day, they try to make a science of it, placing it beside mathematics, astronomy, and physics.
In Armand Trousseau and John Rose Cormack (trans.), Lectures on Clinical Medicine: Delivered at the Hôtel-Dieu, Paris (1869), Vol. 2, 40.
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In general, art has preceded science. Men have executed great, and curious, and beautiful works before they had a scientific insight into the principles on which the success of their labours was founded. There were good artificers in brass and iron before the principles of the chemistry of metals were known; there was wine among men before there was a philosophy of vinous fermentation; there were mighty masses raised into the air, cyclopean walls and cromlechs, obelisks and pyramids—probably gigantic Doric pillars and entablatures—before there was a theory of the mechanical powers. … Art was the mother of Science.
Lecture (26 Nov 1851), to the London Society of Arts, 'The General Bearing of the Great Exhibition on the Progress of Art and Science', collected in Lectures on the Results of the Great Exhibition of 1851' (1852), 7-8.
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In mathematics the art of asking questions is more valuable than solving problems.
From doctoral dissertation, 'De aequationibus secundi gradus indeterminatis' (On indeterminate equations of the second degree, 1867), 26, Theses summary, III. As translated from the original Latin, “In re mathematica ars proponendi quaestionem pluris facienda est quam solvendi.” Other translations include: “In mathematics, the art of posing a problem is more important than solving it,” or “In mathematics the art of proposing a question must be held of higher value than solving it.”
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In my opinion the English excel in the art of writing text-books for mathematical teaching; as regards the clear exposition of theories and the abundance of excellent examples, carefully selected, very few books exist in other countries which can compete with those of Salmon and many other distinguished English authors that could be named.
In Projective Geometry (1886), Preface.
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In my work on Fossil Bones, I set myself the task of recognizing to which animals the fossilized remains which fill the surface strata of the earth belong. ... As a new sort of antiquarian, I had to learn to restore these memorials to past upheavals and, at the same time, to decipher their meaning. I had to collect and put together in their original order the fragments which made up these animals, to reconstruct the ancient creatures to which these fragments belonged, to create them once more with their proportions and characteristics, and finally to compare them to those alive today on the surface of the earth. This was an almost unknown art, which assumed a science hardly touched upon up until now, that of the laws which govern the coexistence of forms of the various parts in organic beings.
Discours sur les révolutions du globe, (Discourse on the Revolutions of the Surface of the Globe), originally the introduction to Recherches sur les ossemens fossiles des quadrupèdes (1812). Translated by Ian Johnston from the 1825 edition. Online at Vancouver Island University website.
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In our time this search [for extraterrestrial life] will eventually change our laws, our religions, our philosophies, our arts, our recreations, as well as our sciences. Space, the mirror, waits for life to come look for itself there.
…...
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In primitive art you will find no accurate representation: you will find only significant form. Yet no other art moves us so profoundly.
In Art (1913), 22.
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In pure mathematics we have a great structure of logically perfect deductions which constitutes an integral part of that great and enduring human heritage which is and should be largely independent of the perhaps temporary existence of any particular geographical location at any particular time. … The enduring value of mathematics, like that of the other sciences and arts, far transcends the daily flux of a changing world. In fact, the apparent stability of mathematics may well be one of the reasons for its attractiveness and for the respect accorded it.
In Fundamentals of Mathematics (1941), 463.
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In reality, I have sometimes thought that we do not go on sufficiently slowly in the removal of diseases, and that it would he better if we proceeded with less haste, and if more were often left, to Nature than is the practice now-a-days. It is a great mistake to suppose that Nature always stands in need of the assistance of Art. If that were the case, site would have made less provision for the safety of mankind than the preservation of the species demands; seeing that there is not the least proportion between the host of existing diseases and the powers possessed by man for their removal, even in those ages wherein the healing art was at the highest pitch, and most extensively cultivated.
As quoted by Gavin Milroy in 'On the Writings of Sydenham', The Lancet (14 Nov 1846), 524.
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In science men have discovered an activity of the very highest value in which they are no longer, as in art, dependent for progress upon the appearance of continually greater genius, for in science the successors stand upon the shoulders of their predecessors; where one man of supreme genius has invented a method, a thousand lesser men can apply it. … In art nothing worth doing can be done without genius; in science even a very moderate capacity can contribute to a supreme achievement.
Essay, 'The Place Of Science In A Liberal Education.' In Mysticism and Logic: and Other Essays (1919), 41.
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In Science the paramount appeal is to the Intellect—its purpose being instruction; in Art, the paramount appeal is to the Emotions—its purpose being pleasure.
In The Principles of Success in Literature (1901), 63.
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In science, as in art, and, as I believe, in every other sphere of human activity, there may be wisdom in a multitude of counsellors, but it is only in one or two of them. And in scientific inquiry, at any rate, it is to that one or two that we must look for light and guidance.
'The Progress of Science'. Collected essays (1898), Vol. 1, 57.
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In scientific matters ... the greatest discoverer differs from the most arduous imitator and apprentice only in degree, whereas he differs in kind from someone whom nature has endowed for fine art. But saying this does not disparage those great men to whom the human race owes so much in contrast to those whom nature has endowed for fine art. For the scientists' talent lies in continuing to increase the perfection of our cognitions and on all the dependent benefits, as well as in imparting that same knowledge to others; and in these respects they are far superior to those who merit the honour of being called geniuses. For the latter's art stops at some point, because a boundary is set for it beyond which it cannot go and which has probably long since been reached and cannot be extended further.
The Critique of Judgement (1790), trans. J. C. Meredith (1991), 72.
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In the arts of life main invents nothing; but in the arts of death he outdoes Nature herself, and produces by chemistry and machinery all the slaughter of plague, pestilence and famine. … There is nothing in Man's industrial machinery but his greed and sloth: his heart is in his weapons.
Play, Man and Superman: A Comedy and a Philosophy (1903)
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In the past, history has been devoted chiefly to the exploits of heroes and the story of wars; but history is now being speedily reorganized and rewritten upon a scientific basis, to exhibit the growth of culture in all its grand departments. History itself is now a science, and is no longer an art in which men exploit in rhetorical paragraphs.
From address (1 Oct 1884), at inauguration of the Corcoran School of Science and Arts, Columbian University, Washington, D.C. Published in 'The Larger Import of Scientific Education', Popular Science Monthly (Feb 1885), 26, 454.
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In the world’s history certain inventions and discoveries occurred of peculiar value, on account of their great efficiency in facilitating all other inventions and discoveries. Of these were the art of writing and of printing, the discovery of America, and the introduction of patent laws. The date of the first … is unknown; but it certainly was as much as fifteen hundred years before the Christian era; the second—printing—came in 1436, or nearly three thousand years after the first. The others followed more rapidly—the discovery of America in 1492, and the first patent laws in 1624.
Lecture 'Discoveries, Inventions and Improvements' (22 Feb 1860) in John George Nicolay and John Hay (eds.), Complete Works of Abraham Lincoln (1894), Vol. 5, 109-10.
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In this world [of art] the emotions of life find no place.
In Art (1913), 27.
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Indeed the modern developments of mathematics constitute not only one of the most impressive, but one of the most characteristic, phenomena of our age. It is a phenomenon, however, of which the boasted intelligence of a “universalized” daily press seems strangely unaware; and there is no other great human interest, whether of science or of art, regarding which the mind of the educated public is permitted to hold so many fallacious opinions and inferior estimates.
In Lectures on Science, Philosophy and Arts (1908), 8.
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Indeed, we need not look back half a century to times which many now living remember well, and see the wonderful advances in the sciences and arts which have been made within that period. Some of these have rendered the elements themselves subservient to the purposes of man, have harnessed them to the yoke of his labors and effected the great blessings of moderating his own, of accomplishing what was beyond his feeble force, and extending the comforts of life to a much enlarged circle, to those who had before known its necessaries only.
From paper 'Report of the Commissioners Appointed to Fix the Site of the University of Virginia' (Dec 1818), reprinted in Annual Report of the Board of Visitors of the University of Virginia for the Fiscal Year Ending May 31, 1879 (1879), 10. Collected in Commonwealth of Virginia, Annual Reports of Officers, Boards, and Institutions of the Commonwealth of Virginia, for the Year Ending September 30, 1879 (1879).
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Industry is best at the intersection of science and art.
In Alan R. Earls and Nasrin Rohani, Polaroid (2005), 20.
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Inspiration in the field of science by no means plays any greater role, as academic conceit fancies, than it does in the field of mastering problems of practical life by a modern entrepreneur. On the other hand, and this also is often misconstrued, inspiration plays no less a role in science than it does in the realm of art.
Max Weber
From a Speech (1918) presented at Munich University, published in 1919, and collected in 'Wissenschaft als Beruf', Gessammelte Aufsätze zur Wissenschaftslehre (1922), 524-525. As given in H.H. Gerth and C. Wright-Mills (translators and eds.), 'Science as a Vocation', Max Weber: Essays in Sociology (1946), 136.
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Inspiration plays no less a role in science than it does in the realm of art. It is a childish notion to think that a mathematician attains any scientifically valuable results by sitting at his desk with a ruler, calculating machines or other mechanical means. The mathematical imagination of a Weierstrass is naturally quite differently oriented in meaning and result than is the imagination of an artist, and differs basically in quality. But the psychological processes do not differ. Both are frenzy (in the sense of Plato’s “mania”) and “inspiration.”
Max Weber
From a Speech (1918) presented at Munich University, published in 1919, and collected in 'Wissenschaft als Beruf', Gessammelte Aufsätze zur Wissenschaftslehre (1922), 524-525. As given in H.H. Gerth and C. Wright-Mills (translators and eds.), 'Science as a Vocation', Max Weber: Essays in Sociology (1946), 136.
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Inventions and discoveries are of two kinds. The one which we owe to chance, such as those of the mariner’s compass, gunpowder, and in general almost all the discoveries we have made in the arts. The other which we owe to genius: and here we ought to understand by the word discovery, a new combination, or a new relation perceived between certain objects or ideas. A person obtains the title of a man of genius, if the ideas which result from this combination form one grand whole, are fruitful in truths, and are of importance with respect to mankind.
From the original French, “Les inventions ou les découvertes sont de deux espèces. Il en est que nous devons au hazard; telles sont la boussole, la poudre à canon, & généralement presque toutes les découvertes que nous avons faites dans les arts. Il en est d'autres que nous devons au génie: &, par ce mot de découverte, on doit alors entendre une nouvelle combinaison, un rapport nouveau aperçu entre certains objets ou certaines idées. On obtient le titre d'homme de génie, si les idées qui résultent de ce rapport forment un grand ensemble, sont fécondes en vérités & intéressantes pour l'humanité,” in 'Du Génie', L’Esprit (1758), Discourse 4, 476. English version from Claude Adrien Helvétius and William Mudford (trans.), 'Of Genius', De l’Esprit or, Essays on the Mind and its several Faculties (1759), Essay 4, Chap. 1, 241-242.
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IODINE
It was Courtois discover'd Iodine
(In the commencement of this century),
Which, with its sisters, bromine and chlorine,
Enjoys a common parentage - the sea;
Although sometimes 'tis found, with other things,
In minerals and many saline springs.

But yet the quantity is so minute
In the great ocean, that a chemist might,
With sensibilities the most acute,
Have never brought this element to light,
Had he not thought it were as well to try
Where ocean's treasures concentrated lie.

And Courtois found that several plants marine,
Sponges, et cetera, exercise the art
Of drawing from the sea its iodine
In quantities sufficient to impart
Its properties; and he devised a plan
Of bringing it before us - clever man!
Anonymous
Discursive Chemical Notes in Rhyme (1876) by the Author of the Chemical Review, a B.
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It [mathematics] is in the inner world of pure thought, where all entia dwell, where is every type of order and manner of correlation and variety of relationship, it is in this infinite ensemble of eternal verities whence, if there be one cosmos or many of them, each derives its character and mode of being,—it is there that the spirit of mathesis has its home and its life.
Is it a restricted home, a narrow life, static and cold and grey with logic, without artistic interest, devoid of emotion and mood and sentiment? That world, it is true, is not a world of solar light, not clad in the colours that liven and glorify the things of sense, but it is an illuminated world, and over it all and everywhere throughout are hues and tints transcending sense, painted there by radiant pencils of psychic light, the light in which it lies. It is a silent world, and, nevertheless, in respect to the highest principle of art—the interpenetration of content and form, the perfect fusion of mode and meaning—it even surpasses music. In a sense, it is a static world, but so, too, are the worlds of the sculptor and the architect. The figures, however, which reason constructs and the mathematic vision beholds, transcend the temple and the statue, alike in simplicity and in intricacy, in delicacy and in grace, in symmetry and in poise. Not only are this home and this life thus rich in aesthetic interests, really controlled and sustained by motives of a sublimed and supersensuous art, but the religious aspiration, too, finds there, especially in the beautiful doctrine of invariants, the most perfect symbols of what it seeks—the changeless in the midst of change, abiding things hi a world of flux, configurations that remain the same despite the swirl and stress of countless hosts of curious transformations.
In 'The Universe and Beyond', Hibbert Journal (1904-1906), 3, 314.
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It amounts to a truism to say that progress in the practical arts of medicine in any of its branches, whether preventive or curative, only comes from the growth of accurate knowledge as it accumulates in the laboratories and studies of the various sciences.
From Norman Lockyer Lecture delivered before the British Science Guild (19 Nov 1929), 'Medical Research: The Tree and the Fruit', in The British Medical Journal (30 Nov 1929), Vol. 2, No. 3595, 995.
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It be urged that the wild and uncultivated tree, hitherto yielding sour and bitter fruit only, can never be made to yield better; yet we know that the grafting art implants a new tree on the savage stock, producing what is most estimable in kind and degree. Education, in like manner, engrafts a new man on the native stock, and improves what in his nature was vicious and perverse into qualities of virtue and social worth.
From paper 'Report of the Commissioners Appointed to Fix the Site of the University of Virginia', included in Annual Report of the Board of Visitors of the University of Virginia for the Fiscal Year Ending May 31, 1879 (1879), 10. Collected in Commonwealth of Virginia, Annual Reports of Officers, Boards, and Institutions of the Commonwealth of Virginia, for the Year Ending September 30, 1879 (1879).
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It is a melancholy experience for a professional mathematician to find him writing about mathematics. The function of a mathematician is to do something, to prove new theorems, to add to mathematics, and not to talk about what he or other mathematicians have done. Statesmen despise publicists, painters despise art-critics, and physiologists, physicists, or mathematicians have usually similar feelings; there is no scorn more profound, or on the whole more justifiable, than that of men who make for the men who explain. Exposition, criticism, appreciation, is work for second-rate minds.
In A Mathematician's Apology (1940, reprint with Foreward by C.P. Snow 1992), 61 (Hardy's opening lines after Snow's foreward).
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It is a strange feeling which comes over one as he stands in the centre of the tunnel, and knows that a mighty river is rolling on over his head, and that great ships with their thousands of tons burthen, sail over him. ... There is no single work of Art in London (with the exception of St. Paul's Cathedral) which excites so much curiosity and admiration among foreigners as the Tunnel. Great buildings are common to all parts of Europe, but the world has not such another Tunnel as this. There is something grand in the idea of walking under a broad river—making a pathway dry and secure beneath ships and navies!
[About visiting Brunel's Thames Tunnel, the first in the world under a navigable waterway.]
What I Saw in London: or, Men and Things in the Great Metropolis (1853), 168-169.
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It is above all the duty of the methodical text-book to adapt itself to the pupil’s power of comprehension, only challenging his higher efforts with the increasing development of his imagination, his logical power and the ability of abstraction. This indeed constitutes a test of the art of teaching, it is here where pedagogic tact becomes manifest. In reference to the axioms, caution is necessary. It should be pointed out comparatively early, in how far the mathematical body differs from the material body. Furthermore, since mathematical bodies are really portions of space, this space is to be conceived as mathematical space and to be clearly distinguished from real or physical space. Gradually the student will become conscious that the portion of the real space which lies beyond the visible stellar universe is not cognizable through the senses, that we know nothing of its properties and consequently have no basis for judgments concerning it. Mathematical space, on the other hand, may be subjected to conditions, for instance, we may condition its properties at infinity, and these conditions constitute the axioms, say the Euclidean axioms. But every student will require years before the conviction of the truth of this last statement will force itself upon him.
In Methodisches Lehrbuch der Elementar-Mathemalik (1904), Teil I, Vorwort, 4-5.
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It is admitted by all that a finished or even a competent reasoner is not the work of nature alone; the experience of every day makes it evident that education develops faculties which would otherwise never have manifested their existence. It is, therefore, as necessary to learn to reason before we can expect to be able to reason, as it is to learn to swim or fence, in order to attain either of those arts. Now, something must be reasoned upon, it matters not much what it is, provided it can be reasoned upon with certainty. The properties of mind or matter, or the study of languages, mathematics, or natural history, may be chosen for this purpose. Now of all these, it is desirable to choose the one which admits of the reasoning being verified, that is, in which we can find out by other means, such as measurement and ocular demonstration of all sorts, whether the results are true or not. When the guiding property of the loadstone was first ascertained, and it was necessary to learn how to use this new discovery, and to find out how far it might be relied on, it would have been thought advisable to make many passages between ports that were well known before attempting a voyage of discovery. So it is with our reasoning faculties: it is desirable that their powers should be exerted upon objects of such a nature, that we can tell by other means whether the results which we obtain are true or false, and this before it is safe to trust entirely to reason. Now the mathematics are peculiarly well adapted for this purpose, on the following grounds:
1. Every term is distinctly explained, and has but one meaning, and it is rarely that two words are employed to mean the same thing.
2. The first principles are self-evident, and, though derived from observation, do not require more of it than has been made by children in general.
3. The demonstration is strictly logical, taking nothing for granted except self-evident first principles, resting nothing upon probability, and entirely independent of authority and opinion.
4. When the conclusion is obtained by reasoning, its truth or falsehood can be ascertained, in geometry by actual measurement, in algebra by common arithmetical calculation. This gives confidence, and is absolutely necessary, if, as was said before, reason is not to be the instructor, but the pupil.
5. There are no words whose meanings are so much alike that the ideas which they stand for may be confounded. Between the meaning of terms there is no distinction, except a total distinction, and all adjectives and adverbs expressing difference of degrees are avoided.
In On the Study and Difficulties of Mathematics (1898), chap. 1.
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It is contrary to the usual order of things, that events so harmonious as those of the system of the world, should depend on such diversified agents as are supposed to exist in our artificial arrangements; and there is reason to anticipate a great reduction in the number of undecompounded bodies, and to expect that the analogies of nature will be found conformable to the refined operations of art. The more the phenomena of the universe are studied, the more distinct their connection appears, and the more simple their causes, the more magnificent their design, and the more wonderful the wisdom and power of their Author.
Elements of Chemical Philosophy (1812), in J. Davy (ed.), The Collected Works of Sir Humphry Davy(1839-40), Vol. 4, 42.
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It is customary to connect Medicine with Botany, yet scientific treatment demands that we should consider each separately. For the fact is that in every art, theory must be disconnected and separated from practice, and the two must be dealt with singly and individually in their proper order before they are united. And for that reason, in order that Botany, which is, as it were, a special branch of Natural Philosophy [Physica], may form a unit by itself before it can be brought into connection with other sciences, it must be divided and unyoked from Medicine.
Methodi herbariae libri tres (1592), translated in Agnes Arber, Herbals: Their Origin and Evolution, 2nd edition (1938), 144.
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It is impossible for a Die, with such determin'd force and direction, not to fall on such determin'd side, only I don't know the force and direction which makes it fall on such determin'd side, and therefore I call it Chance, which is nothing but the want of art.... .
Of the Laws of Chance (1692), preface
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It is impossible for us, who live in the latter ages of the world, to make observations in criticism, morality, or in any art or science, which have not been touched upon by others. We have little else left us but to represent the common sense of mankind in more strong, more beautiful, or more uncommon lights.
Spectator, No. 253. In Samuel Austin Allibone, Prose Quotations from Socrates to Macaulay (1880), 60.
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It is not a disgrace to fail. Failing is one of the greatest arts in the world.
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It is not clear to anyone, least of all the practitioners, how science and technology in their headlong course do or should influence ethics and law, education and government, art and social philosophy, religion and the life of the affections. Yet science is an all-pervasive energy, for it is at once a mode of thought, a source of strong emotion, and a faith as fanatical as any in history.
Science: The Glorious Entertainment (1964), 3.
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It is not so very important for a person to learn facts. For that he does not really need a college. He can learn them from books. The value of an education in a liberal arts college is not the learning of many facts but the training of the mind to think something that cannot be learned from textbooks.
1921, commenting on Thomas Edison’s opinion that a college education is useless, in Einstein: His Life and Times by Philipp Frank (1953).
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It is not, indeed, strange that the Greeks and Romans should not have carried ... any ... experimental science, so far as it has been carried in our time; for the experimental sciences are generally in a state of progression. They were better understood in the seventeenth century than in the sixteenth, and in the eighteenth century than in the seventeenth. But this constant improvement, this natural growth of knowledge, will not altogether account for the immense superiority of the modern writers. The difference is a difference not in degree, but of kind. It is not merely that new principles have been discovered, but that new faculties seem to be exerted. It is not that at one time the human intellect should have made but small progress, and at another time have advanced far; but that at one time it should have been stationary, and at another time constantly proceeding. In taste and imagination, in the graces of style, in the arts of persuasion, in the magnificence of public works, the ancients were at least our equals. They reasoned as justly as ourselves on subjects which required pure demonstration.
History (May 1828). In Samuel Austin Allibone, Prose Quotations from Socrates to Macaulay (1880), 36.
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It is something to be able to paint a particular picture or to carve a statue and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look, which morally we can do. To affect the quality of the day, that is the highest of arts.
In Walden: or, Life in the Woods (1854, 1893), 143.
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It is sometimes asserted that a surgical operation is or should be a work of art … fit to rank with those of the painter or sculptor. … That proposition does not admit of discussion. It is a product of the intellectual innocence which I think we surgeons may fairly claim to possess, and which is happily not inconsistent with a quite adequate worldly wisdom.
Address, opening of 1932-3 session of U.C.H. Medical School (4 Oct 1932), 'Art and Science in Medicine', The Collected Papers of Wilfred Trotter, FRS (1941), 93.
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It is the greatest of crimes to depress true art and science.
Letter to William Hayley (11 Dec 1805). Collected in William Blake and Archibald George Blomefield Russell (ed.), The Letters of William Blake (1906), Vol. 1, 189.
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It is the mark of great art that its appeal is universal and eternal.
In Art (1913), 36.
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It is to Titian we must turn our eyes to find excellence with regard to color, and light and shade, in the highest degree. He was both the first and the greatest master of this art. By a few strokes he knew how to mark the general image and character of whatever object he attempted.
In Discourse XI, Discourses on Painting and the Fine Arts: Delivered at the Royal Academy (1826), 209
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It must be for truth’s sake, and not for the sake of its usefulness to humanity, that the scientific man studies Nature. The application of science to the useful arts requires other abilities, other qualities, other tools than his; and therefore I say that the man of science who follows his studies into their practical application is false to his calling. The practical man stands ever ready to take up the work where the scientific man leaves it, and adapt it to the material wants and uses of daily life.
Methods of Study in Natural History (1863),24.
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It often happens that men, even of the best understandings and greatest circumspection, are guilty of that fault in reasoning which the writers on logick call the insufficient, or imperfect enumeration of parts, or cases: insomuch that I will venture to assert, that this is the chief, and almost the only, source of the vast number of erroneous opinions, and those too very often in matters of great importance, which we are apt to form on all the subjects we reflect upon, whether they relate to the knowledge of nature, or the merits and motives of human actions. It must therefore be acknowledged, that the art which affords a cure to this weakness, or defect, of our understandings, and teaches us to enumerate all the possible ways in which a given number of things may be mixed and combined together, that we may be certain that we have not omitted anyone arrangement of them that can lead to the object of our inquiry, deserves to be considered as most eminently useful and worthy of our highest esteem and attention. And this is the business of the art, or doctrine of combinations ... It proceeds indeed upon mathematical principles in calculating the number of the combinations of the things proposed: but by the conclusions that are obtained by it, the sagacity of the natural philosopher, the exactness of the historian, the skill and judgement of the physician, and the prudence and foresight of the politician, may be assisted; because the business of all these important professions is but to form reasonable conjectures concerning the several objects which engage their attention, and all wise conjectures are the results of a just and careful examination of the several different effects that may possibly arise from the causes that are capable of producing them.
Ars conjectandi (1713). In F. Maseres, The Doctrine of Permutations and Combinations (1795), 36.
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It was not alone the striving for universal culture which attracted the great masters of the Renaissance, such as Brunellesco, Leonardo da Vinci, Raphael, Michelangelo and especially Albrecht Dürer, with irresistible power to the mathematical sciences. They were conscious that, with all the freedom of the individual fantasy, art is subject to necessary laws, and conversely, with all its rigor of logical structure, mathematics follows aesthetic laws.
From Lecture (5 Feb 1891) held at the Rathhaus, Zürich, printed as Ueber den Antheil der mathematischen Wissenschaft an der Kultur der Renaissance (1892), 19. (The Contribution of the Mathematical Sciences to the Culture of the Renaissance.) As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 183.
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It were indeed to be wish’d that our art had been less ingenious, in contriving means destructive to mankind; we mean those instruments of war, which were unknown to the ancients, and have made such havoc among the moderns. But as men have always been bent on seeking each other’s destruction by continual wars; and as force, when brought against us, can only be repelled by force; the chief support of war, must, after money, be now sought in chemistry.
A New Method of Chemistry, 3rd edition (1753), Vol. I, trans. P. Shaw, 189-90.
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It would be well if engineering were less generally thought of, and even defined, as the art of constructing. In a certain important sense it is rather the art of not constructing; or, to define it rudely but not inaptly, it is the art of doing that well with one dollar, which any bungler can do with two after a fashion.
From The Economic Theory of the Location of Railways (1887, 1914), 1.
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Just as Darwin discovered the law of evolution in organic nature, so Marx discovered the law of evolution in human history; he discovered the simple fact, hitherto concealed by an overgrowth of idealogy [sic], that mankind must first of all eat and drink, have shelter and clothing, before it can pursue politics, science, religion, art etc.
Engels' Speech over the Grave of Karl Marx, delivered at Highgate Cemetery, London, 17 Mar 1883. Quoted in Karl Marx 1818-1883, for the Anniversary of his Death (1942), 27.
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Just as in the animal and vegetable kingdoms, an individual comes into being, so to speak, grows, remains in being, declines and passes on, will it not be the same for entire species? If our faith did not teach us that animals left the Creator's hands just as they now appear and, if it were permitted to entertain the slightest doubt as to their beginning and their end, may not a philosopher, left to his own conjectures, suspect that, from time immemorial, animal life had its own constituent elements, scattered and intermingled with the general body of matter, and that it happened when these constituent elements came together because it was possible for them to do so; that the embryo formed from these elements went through innumerable arrangements and developments, successively acquiring movement, feeling, ideas, thought, reflection, consciousness, feelings, emotions, signs, gestures, sounds, articulate sounds, language, laws, arts and sciences; that millions of years passed between each of these developments, and there may be other developments or kinds of growth still to come of which we know nothing; that a stationary point either has been or will be reached; that the embryo either is, or will be, moving away from this point through a process of everlasting decay, during which its faculties will leave it in the same way as they arrived; that it will disappear for ever from nature-or rather, that it will continue to exist there, but in a form and with faculties very different from those it displays at this present point in time? Religion saves us from many deviations, and a good deal of work. Had religion not enlightened us on the origin of the world and the universal system of being, what a multitude of different hypotheses we would have been tempted to take as nature's secret! Since these hypotheses are all equally wrong, they would all have seemed almost equally plausible. The question of why anything exists is the most awkward that philosophy can raise- and Revelation alone provides the answer.
Thoughts on the Interpretation of Nature and Other Philosophical Works (1753/4), ed. D. Adams (1999), Section LVIII, 75-6.
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Just as the arts of tanning and dyeing were practiced long before the scientific principles upon which they depend were known, so also the practice of Chemical Engineering preceded any analysis or exposition of the principles upon which such practice is based.
In William H. Walker, Warren K. Lewis and William H. MacAdams, The Principles of Chemical Engineering (1923), Preface to 1st. edition, v.
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Let both sides seek to invoke the wonders of science instead of its terrors. Together let us explore the stars, conquer the deserts, eradicate disease, tap the ocean depths, and encourage the arts and commerce.
From Inaugural Address (20 Jan 1961). As quoted in Elizabeth Sirimarco, The Cold War (2005), 45.
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Let me arrest thy thoughts; wonder with me, why plowing, building, ruling and the rest, or most of those arts, whence our lives are blest, by cursed Cain’s race invented be, and blest Seth vexed us with Astronomy.
…...
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Let the artist have just enough to eat, and the tools of this trade: ask nothing of him. Materially make the life of the artist sufficiently miserable to be unattractive, and no-one will take to art save those in whom the divine daemon is absolute.
In Art (1958), 172.
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Life is not an exact science; it is an art.
In Samuel Butler and Henry Festing Jones (ed.), 'Reconciliation', The Note-books of Samuel Butler (1912, 1917), 351.
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Life is short, and the Art long; the occasion fleeting; experience fallacious, and judgment difficult. The physician must not only be prepared to do what is right himself, but also to make the patient, the attendants, and externals cooperate.
The Genuine Works of Hippocrates, trans. Francis Adams (1886), Vol. 2, 192.
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Life is short, the Art long, opportunity fleeting, experience treacherous, judgment difficult. The physician must be ready, not only to do his duty himself, but also to secure the co-operation of the patient, of the attendants and of externals.
Aphorisms, in Hippocrates, trans. W. H. S. Jones (1931), Vol. 4, 99.
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Like the furtive collectors of stolen art, we [cell biologists] are forced to be lonely admirers of spectacular architecture, exquisite symmetry, dramas of violence and death, mobility, self-sacrifice and, yes, rococo sex.
…...
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Logic is neither a science nor an art, but a dodge.
Quoted in Evelyn Abbott and Lewis Campbell, The Life and Letters of Benjamin Jowett, M.A., Master of Balliol College, Oxford (1897), Vol. 1, 131.
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Logic is only the art of going wrong with confidence.
This is a slightly reworded version of part of a quote by Joseph Wood Krutch (see the quote beginning “Metaphysics…”, on the Joseph Wood Krutch Quotes page of this website.) This note by Webmaster is included here to help readers identify that it is incorrectly cited when found attributed to Morris Kline, John Ralston Saul or W.H. Auden. In fact, the quote is simply attributed to Anonymous by Kline in his Mathematics: The Loss of Certainty (1980), 197; and as an “old conundrum” in Saul's On Equilibrium: The Six Qualities of the New Humanism (2004), 124.
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LOGIC, n. The art of thinking and reasoning in strict accordance with the limitations and incapacities of the human misunderstanding. The basic of logic is the syllogism, consisting of a major and a minor premise and a conclusion—thus:
Major Premise: Sixty men can do a piece of work sixty times as quickly as one man.
Minor Premise: One man can dig a post-hole in sixty seconds; therefore—
Conclusion: Sixty men can dig a post-hole in one second.
This may be called the syllogism arithmetical, in which, by combining logic and mathematics, we obtain a double certainty and are twice blessed.
The Collected Works of Ambrose Bierce (1911), Vol. 7, The Devil's Dictionary,  196.
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Man cannot have an effect on nature, cannot adopt any of her forces, if he does not know the natural laws in terms of measurement and numerical relations. Here also lies the strength of the national intelligence, which increases and decreases according to such knowledge. Knowledge and comprehension are the joy and justification of humanity; they are parts of the national wealth, often a replacement for the materials that nature has too sparcely dispensed. Those very people who are behind us in general industrial activity, in application and technical chemistry, in careful selection and processing of natural materials, such that regard for such enterprise does not permeate all classes, will inevitably decline in prosperity; all the more so were neighbouring states, in which science and the industrial arts have an active interrelationship, progress with youthful vigour.
Kosmos (1845), vol.1, 35. Quoted in C. C. Gillispie (ed.), Dictionary of Scientific Biography (1970), vol. 6, 552.
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Man is unique not because he does science, and he is unique not because he does art, but because science and art equally are expressions of his marvelous plasticity of mind.
In The Ascent of Man (1973), 412.
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Many arts there are which beautify the mind of man; of all other none do more garnish and beautify it than those arts which are called mathematical.
The Elements of Geometric of the most ancient Philosopher Euclide of Megara (1570), Note to the Reader. In Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath's Quotation-book (1914), 44.
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Many of the things that have happened in the laboratory have happened in ways it would have been impossible to foresee, but not impossible to plan for in a sense. I do not think Dr. Whitney deliberately plans his serendipity but he is built that way; he has the art—an instinctive way of preparing himself by his curiosity and by his interest in people and in all kinds of things and in nature, so that the things he learns react on one another and thereby accomplish things that would be impossible to foresee and plan.
Quoted in Guy Suits, 'Willis Rodney Whitney', National Academy of Sciences, Biographical Memoirs (1960), 355.
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Mathematics and art are quite different. We could not publish so many papers that used, repeatedly, the same idea and still command the respect of our colleagues.
As given in essay, Ronald Coifman and Robert S. Strichartz, 'The School of Antoni Zygmund', collected in Peter Duren (ed.), A Century of Mathematics in America (1989), 348. The comment was made “after passing through several rooms in a museum filled with the paintings of a rather well-known modem painter”. The authors acknowledge students of Zygmund provided personal recollections to them for the essay in general. Webmaster speculates the quote is from a student recollection, and not necessarily verbatim.
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Mathematics is no more the art of reckoning and computation than architecture is the art of making bricks or hewing wood, no more than painting is the art of mixing colors on a palette, no more than the science of geology is the art of breaking rocks, or the science of anatomy the art of butchering.
In Lectures on Science, Philosophy and Art (1908), 29.
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Mathematics is not only one of the most valuable inventions—or discoveries—of the human mind, but can have an aesthetic appeal equal to that of anything in art. Perhaps even more so, according to the poetess who proclaimed, “Euclid alone hath looked at beauty bare.”
From 'The Joy of Maths'. Collected in Arthur C. Clarke, Greetings, Carbon-Based Bipeds!: Collected Essays, 1934-1998, 460.
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Mathematics is the art of giving the same name to different things.
Henri Poincaré and George Bruce Halsted (trans.) The Foundations of Science: Science and Hypothesis (1921), 375.
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Mathematics is the universal art apodictic.
Quoted by C.J. Keyser, in Lectures on Science, Philosophy and Art (1908), 13. [“Apodictic” means clearly established or beyond dispute. —Webmaster]
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Mathematics is, as it were, a sensuous logic, and relates to philosophy as do the arts, music, and plastic art to poetry.
Aphorism 365 from Selected Aphorisms from the Lyceum (1797-1800). In Friedrich Schlegel, translated by Ernst Behler and Roman Struc, Dialogue on Poetry and Literary Aphorisms (trans. 1968), 147.
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Mathematics, as much as music or any other art, is one of the means by which we rise to a complete self-consciousness. The significance of mathematics resides precisely in the fact that it is an art; by informing us of the nature of our own minds it informs us of much that depends on our minds.
In Aspects of Science: Second Series (1926), 94.
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Mathematics, like dialectics, is an organ of the inner higher sense; in its execution it is an art like eloquence. Both alike care nothing for the content, to both nothing is of value but the form. It is immaterial to mathematics whether it computes pennies or guineas, to rhetoric whether it defends truth or error.
From Wilhelm Meislers Wanderjahre (1829), Zweites Buch. Collected in Goethe’s Werke (1830), Vol. 22, 252. As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 36-37. The same book has another translation on p.202: “Mathematics, like dialectics, is an organ of the higher sense, in its execution it is an art like eloquence. To both nothing but the form is of value; neither cares anything for content. Whether mathematics considers pennies or guineas, whether rhetoric defends truth or error, is perfectly immaterial to either.” From the original German, “Die Mathematik ist, wie die Dialektik, ein Organ des inneren höheren Sinnes, in der Ausübung ist sie eine Kunst wie die Beredsamkeit. Für beide hat nichts Wert als die Form; der Gehalt ist ihnen gleichgültig. Ob die Mathematik Pfennige oder oder Guineen berechne, die Rhetorik Wahres oder Falsches verteidige, ist beiden vollkommen gleich.”
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Mathematics, rightly viewed, possesses not only truth, but supreme beauty—a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show.
Essay, 'The Study of Mathematics' (1902), collected in Philosophical Essays (1910), 73-74. Also collected in Mysticism and Logic: And Other Essays (1918), 60.
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Mathematics, while giving no quick remuneration, like the art of stenography or the craft of bricklaying, does furnish the power for deliberate thought and accurate statement, and to speak the truth is one of the most social qualities a person can possess. Gossip, flattery, slander, deceit, all spring from a slovenly mind that has not been trained in the power of truthful statement, which is one of the highest utilities.
In Social Phases of Education in the School and the Home (1900), 30.
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May we not assure ourselves that whatever woman’s thought and study shall embrace will thereby receive a new inspiration, that she will save science from materialism, and art from a gross realism; that the ‘eternal womanly shall lead upward and onward’?
As quoted in The Fair Women, ch. 16, by Jeanne Madeline Weimann (1981).From a paper published in Art and Handicraft in the Woman's Building, a book sponsored by the Board of Lady Managers of the Commission that planned the 1893 World's Columbian Expositio
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Medicine has been defined to be the art or science of amusing a sick man with frivolous speculations about his disorder, and of tampering ingeniously, till nature either kills or cures him.
Anonymous
In Tryon Edwards (ed.), A Dictionary of Thoughts (1908), 339.
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Medicine is a science of uncertainty and an art of probability.
William Bennett Bean (ed.), Sir William Osler: Aphorisms from his Bedside Teachings and Writings, No. 265 (1950), 125.
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Medicine is a science, acquiring a practice an art.
Anonymous
In Wystan Hugh Auden, The Viking Book of Aphorisms: A Personal Selection (), 217.
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Medicine is not only a science; it is also an art. It does not consist of compounding pills and plasters; it deals with the very processes of life, which must be understood before they may be guided.
…...
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Medicine is of all the Arts the most noble; but, owing to the ignorance of those who practice it, and of those who, inconsiderately, form a judgment of them, it is at present behind all the arts.
The Genuine Works of Hippocrates, trans. Francis Adams (1886), Vol. 2, 283.
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Medicine is the science by which we learn the various states of the human body in health and when not in health, and the means by which health is likely to be lost and, when lost, is likely to be restored back to health. In other words, it is the art whereby health is conserved and the art whereby it is restored after being lost. While some divide medicine into a theoretical and a practical [applied] science, others may assume that it is only theoretical because they see it as a pure science. But, in truth, every science has both a theoretical and a practical side.
Avicenna
'The Definition of Medicine', in The Canon of Medicine, adapted by L. Bakhtiar (1999), 9.
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Medicine may be defined as the art or the science of keeping a patient quiet with frivolous reasons for his illness and amusing him with remedies good or bad until nature kills him or cures him.
Ménagiana (1693).
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Medicine rests upon four pillars—philosophy, astronomy, alchemy, and ethics. The first pillar is the philosophical knowledge of earth and water; the second, astronomy, supplies its full understanding of that which is of fiery and airy nature; the third is an adequate explanation of the properties of all the four elements—that is to say, of the whole cosmos—and an introduction into the art of their transformations; and finally, the fourth shows the physician those virtues which must stay with him up until his death, and it should support and complete the three other pillars.
Vas Buch Paragranum (c.1529-30), in J. Jacobi (ed.), Paracelsus: Selected Writings (1951), 133-4.
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Men are rather beholden ... generally to chance or anything else, than to logic, for the invention of arts and sciences.
The Advancement of Learning (1605) in James Spedding, Robert Ellis and Douglas Heath (eds.), The Works of Francis Bacon (1887-1901), Vol. 3, 386.
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Men today who have had an irreproachable training in the art are seen to abstain from the use of the hand as from the plague, and for this very reason, lest they should be slandered by the masters of the profession as barbers… . For it is indeed above all things the wide prevalence of this hateful error that prevents us even in our age from taking up the healing art as a whole, makes us confine ourselves merely to the treatment of internal complaints, and, if I may utter the blunt truth once for all, causes us, to the great detriment of mankind, to study to be healers only in a very limited degree.
As given in George I. Schwartz and ‎Philip W. Bishop, 'Andreas Vesalius', Moments of Discovery: The Development of Modern Science (1958), Vol. 1, 521.
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Metaphysics may be, after all, only the art of being sure of something that is not so and logic only the art of going wrong with confidence.
In The Modern Temper (1929), 228. The second part of this quote is often seen as a sentence by itself, and a number of authors cite it incorrectly. For those invalid attributions, see quote beginning “Logic is only the art…” on the Joseph Wood Krutch Quotes page of this website.
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Mighty is geometry; joined with art, resistless.
Euripides
As quoted in several mathematics books, but without further citation, for example, in Morris Kline, Mathematics for the Nonmathematician (1967), 209. If you know the primary source, plase contact webmaster.
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Modern bodybuilding is ritual, religion, sport, art, and science, awash in Western chemistry and mathematics. Defying nature, it surpasses it.
'Alice in Muscle Land,' Boston Globe (27 Jan 1991). Reprinted in Sex, Art, and American Culture (1992), 82.
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Modern music, headstrong, wayward, tragically confused as to what to say and how to say it, has mounted its horse, as the joke goes, and ridden off in all directions. If we require of an art that it be unified as a whole and expressed in a universal language known to all, if it must be a consistent symbolization of the era, then modern music is a disastrous failure. It has many voices, many symbolizations. It it known to one, unknown to another. But if an art may be as variable and polyvocal as the different individuals and emotional regions from which it comes in this heterogeneous modern world, then the diversity and contradiction of modern music may be acceptable.
In Art Is Action: A Discussion of Nine Arts in a Modern World (1939), 81.
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Most of the arts, as painting, sculpture, and music, have emotional appeal to the general public. This is because these arts can be experienced by some one or more of our senses. Such is not true of the art of mathematics; this art can be appreciated only by mathematicians, and to become a mathematician requires a long period of intensive training. The community of mathematicians is similar to an imaginary community of musical composers whose only satisfaction is obtained by the interchange among themselves of the musical scores they compose.
In Anton Z. Capri, Quips, Quotes and Quanta: An Anecdotal History of Physics (2007), 151. The author described Lanczos invited up on the platform at the Trieste Conference to celebrate Dirac’s 70th birthday, and gave an impromptu quote by Lanczos speaking about Pauli. The author followed that unrelated topic with another beginning, “Here is a comment by Lanczos…” followed by the subject quote above.
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Mr. Dalton's aspect and manner were repulsive. There was no gracefulness belonging to him. His voice was harsh and brawling; his gait stiff and awkward; his style of writing and conversation dry and almost crabbed. In person he was tall, bony, and slender. He never could learn to swim: on investigating this circumstance he found that his spec. grav. as a mass was greater than that of water; and he mentioned this in his lectures on natural philosophy in illustration of the capability of different persons for attaining the art of swimming. Independence and simplicity of manner and originality were his best qualities. Though in comparatively humble circumstances he maintained the dignity of the philosophical character. As the first distinct promulgator of the doctrine that the elements of bodies unite in definite proportions to form chemical compounds, he has acquired an undying fame.
Dr John Davy's (brother of Humphry Davy) impressions of Dalton written in c.1830-31 in Malta.
John Davy
Quoted in W. C. Henry, Memoirs of the Life and Scientific Researches of John Dalton (1854), 217-8.
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MUMMY, n. An ancient Egyptian, formerly in universal use among modern civilized nations as medicine, and now engaged in supplying art with an excellent pigment. He is handy, too, in museums in gratifying the vulgar curiosity that serves to distinguish man from the lower animals.
The Collected Works of Ambrose Bierce (1911), Vol. 7, The Devil's Dictionary,  226.
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Narration by flashback is now used by almost all novelists… The method of the sleuth does have some relation to contemporary science as well as to art. One of the procedures in modern chemical research, for example, is to take a compound or a chemical reaction and then to work backwards from that to the formula which will produce that compound or reaction.
In The Mechanical Bride: Folklore of Industrial Man (1967), 106.
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Nature crying out and speaking to country people in these words: Clown, wherefore dost thou behold the heavens? Why dost thou seek after the stars? When thou art now werry with short sleep, the nights are troublesome to thee. So I scatter little stars in the grass, and I shew them in the evening when thy labour is ended, and thou art miraculously allured to look upon them when thous passest by: Dost thou not see how a light like fire is covered when she closeth her wings, and she carrieth both night and day with her.
In Thomas Moffett, 'Glow-Worms', The Theater of Insects.
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Nature is no great mother who has borne us. She is our creation. It is our brain that she quickens to life. Things are because we see them, and what we see, and how we see it, depends on the Arts that have influenced us. To look at a thing is very different from seeing a thing. One does not see anything until one sees its beauty.
In 'Decay of Lying', The Writings of Oscar Wilde: Epigrams, Phrases and Philosophies For the Use of the Young (1907), 7.
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Nature is the art of God.
…...
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Neither art nor science knows anything of moral approval or disapproval. Science is out of the reach of morals, for her eyes are fixed upon eternal truths. Art is out of the reach of morals, for her eyes are fixed upon things beautiful and immortal and ever-changing.
In his dialogue 'The Critic As Artist', collected in Intentions (1891), 156. Also collected in Oscariana: Epigrams (1895), 27.
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No man can thoroughly master more than one art or science.
The Round Table: a Collection of Essays on Literature, Men, and Manners (1817), Vol. 2, 40.
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No mathematician should ever allow him to forget that mathematics, more than any other art or science, is a young man's game. … Galois died at twenty-one, Abel at twenty-seven, Ramanujan at thirty-three, Riemann at forty. There have been men who have done great work later; … [but] I do not know of a single instance of a major mathematical advance initiated by a man past fifty. … A mathematician may still be competent enough at sixty, but it is useless to expect him to have original ideas.
In A Mathematician's Apology (1941, reprint with Foreward by C.P. Snow 1992), 70-71.
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No mathematician should ever allow himself to forget that mathematics, more than any other art or science, is a young man's game.
A Mathematician's Apology (1940), 10.
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No one wants to learn by mistakes, but we cannot learn enough from successes to go beyond the state of the art
To Engineer is Human: The Role of Failure in Successful Design (1992), 62.
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No place affords a more striking conviction of the vanity of human hopes than a publick library; for who can see the wall crouded on every side by mighty volumes, the works of laborious meditation, and accurate inquiry, now scarcely known but by the catalogue, and preserved only to encrease the pomp of learning, without considering how many hours have been wasted in vain endeavours, how often imagination has anticipated the praises of futurity, how many statues have risen to the eye of vanity, how many ideal converts have elevated zeal, how often wit has exulted in the eternal infamy of his antagonists, and dogmatism has delighted in the gradual advances of his authority, the immutability of his decrees, and the perpetuity of his power.
Non unquam dedit
Documenta fors majora, quam fragili loco
Starent superbi.

Seneca, Troades, II, 4-6
Insulting chance ne'er call'd with louder voice,
On swelling mortals to be proud no more.
Of the innumerable authors whose performances are thus treasured up in magnificent obscurity, most are forgotten, because they never deserved to be remembered, and owed the honours which they have once obtained, not to judgment or to genius, to labour or to art, but to the prejudice of faction, the stratagem of intrigue, or the servility of adulation.
Nothing is more common than to find men whose works are now totally neglected, mentioned with praises by their contemporaries, as the oracles of their age, and the legislators of science. Curiosity is naturally excited, their volumes after long enquiry are found, but seldom reward the labour of the search. Every period of time has produced these bubbles of artificial fame, which are kept up a while by the breath of fashion and then break at once and are annihilated. The learned often bewail the loss of ancient writers whose characters have survived their works; but perhaps if we could now retrieve them we should find them only the Granvilles, Montagus, Stepneys, and Sheffields of their time, and wonder by what infatuation or caprice they could be raised to notice.
It cannot, however, be denied, that many have sunk into oblivion, whom it were unjust to number with this despicable class. Various kinds of literary fame seem destined to various measures of duration. Some spread into exuberance with a very speedy growth, but soon wither and decay; some rise more slowly, but last long. Parnassus has its flowers of transient fragrance as well as its oaks of towering height, and its laurels of eternal verdure.
The Rambler, Number 106, 23 Mar 1751. In W. J. Bate and Albrecht B. Strauss (eds.), The Rambler (1969), Vol. 2, 200-1.
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Not only in antiquity but in our own times also laws have been passed...to secure good conditions for workers; so it is right that the art of medicine should contribute its portion for the benefit and relief of those for whom the law has shown such foresight...[We] ought to show peculiar zeal...in taking precautions for their safety. I for one have done all that lay in my power, and have not thought it beneath me to step into workshops of the meaner sort now and again and study the obscure operations of mechanical arts.
De Morbis Artificum Diatriba (1713). Translation by W.C.Wright, in A.L.Birmingham Classics of Medicine Library (1983). Quoted in Edward J. Huth, T. J. Murray (eds.), Medicine in Quotations: Views of Health and Disease Through the Ages
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Not only is the state of nature hostile to the state of art of the garden; but the principle of the horticultural process, by which the latter is created and maintained, is antithetic to that of the cosmic process. The characteristic feature of the latter is the intense and unceasing competition of the struggle for existence. The characteristic of the former is the elimination of that struggle, by the removal of the conditions which give rise to it. The tendency of the cosmic process is to bring about the adjustment of the forms of plant life to the current conditions; the tendency of the horticultural process is the adjustment of the conditions to the needs of the forms of plant life which the gardener desires to raise.
'Evolution and Ethics-Prolegomena' (1894). In Collected Essays (1894), Vol. 9, 13.
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Nothing is lost and nothing is created in the operations of art as those of nature.
Pasteur Vallery-Radot (ed.), Correspondance de Pasteur 1840-1895 (1940), Vol. 1, 326. Quoted in Patrice Debré, Louis Pasteur, trans. Elborg Forster (1994), 90.
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Nothing retains less of desire in art, in science, than this will to industry, booty, possession.
Mad Love (1937) translated by Mary Ann Caws (1988), 25.
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Now do you not see that the eye embraces the beauty of the whole world? It counsels and corrects all the arts of mankind... it is the prince of mathematics, and the sciences founded on it are absolutely certain. It has measured the distances and sizes of the stars it has discovered the elements and their location... it has given birth to architecture and to perspective and to the divine art of painting.
…...
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Now, we propose in the first place to show, that this law of organic progress is the law of all progress. Whether it be in the development of the Earth, in the development in Life upon its surface, in the development of Society, of Government, of Manufactures, of Commerce, of Language, Literature, Science, Art, this same evolution of the simple into the complex, through a process of continuous differentiation, holds throughout. From the earliest traceable cosmical changes down to the latest results of civilization, we shall find that the transformation of the homogeneous into the heterogeneous is that in which Progress essentially consists.
'Progress: Its Law and Cause', Westminster Review (1857), 67, 446-7.
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Nursing is an art: and if it is to be made an art, it requires an exclusive devotion as hard a preparation as any painter’s or sculptor’s work; for what is the having to do with dead canvas or dead marble, compared with having to do with the living body, the temple of God’s spirit? It is one of the Fine Arts: I had almost said, the finest of Fine Arts.
First published as a eulogy to an unnamed nurse in 'Una and the Lion', Good Words (1 Jun 1868), 360-366. Reprinted in Una and the Lion (1871), 6.
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Of all man’s works of art, a cathedral is greatest. A vast and majestic tree is greater than that.
In Proverbs from Plymouth Pulpit (1887), 8.
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Of all the Prizes endowed by Alfred Nobel, only one has an ambiguous name—the Prize for Physiology or Medicine. Nobel believed that physiology was an experimental science like physics and chemistry. On the other hand, medicine was an empirical art that would rarely merit a scientific prize. To the contrary, however, many of the advances in biology during the subsequent 85 years were made by people trained in medicine who were attempting to solve medical problems.
In Banquet Speech, 'The Nobel Prize in Physiology or Medicine 1985', on website nobelprize.org. Published in Les Prix Nobel, 1985: Nobel Prizes, Presentations, Biographies and Lectures (1986).
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Oh! That the Chemist’s magic art
Could crystallize this sacred treasure!…
That very law which moulds a tear,
And bids it trickle from its source;
That law preserves the earth a sphere,
And guides the planets in their course.
Referring to the Law of Gravitation. From Poem, 'On a Tear' (c.1813-15), in Samuel Rogers et al., The Poetical Works of Rogers, Campbell, J. Montombery, Lamb, and Kirke White (1836), 101.
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On consideration and by the advice of learned men, I thought it improper to unfold the secrets of the art (alchemy) to the vulgar, as few persons are capable of using its mysteries to advantage and without detriment.
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On one occasion committee members were asked by the chairman, who was also in charge of the project, to agree that a certain machine be run at a power which was ten percent lower than the design value. [Franz Eugen] Simon objected, arguing that “design value” should mean what it said. Thereupon the chairman remarked, “Professor Simon, don’t you see that we are not talking about science, but about engineering, which is an art.” Simon was persistent: “What would happen if the machine were run at full power?” “It might get too hot.” “But, Mr. Chairman,” came Simon’s rejoinder, “Can’t artists use thermometers?”
(1908). From N. Kurti, 'Franz Eugen Simon', Biographical Memoirs of Fellows of the Royal Society (Nov 1958), 4, 247.
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Once we have judged a thing a work of art, we have judged it ethically of the first importance and put it beyond the reach of the moralist.
In Art (1913), 20.
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One of the main causes of our artistic decline lies beyond doubt in the separation of art and science.
In Marco Treves, Artists on art, from the XIV to the XX century (1945), 437.
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One of the strongest motives that lead men to art and science is escape from everyday life with its painful crudity and hopeless dreariness, from the fetters of one's own ever-shifting desires. A finely tempered nature longs to escape from the personal life into the world of objective perception and thought.
Albert Einstein and Walter Shropshire (ed.), The Joys of Research (1981), 40.
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One rarely hears of the mathematical recitation as a preparation for public speaking. Yet mathematics shares with these studies [foreign languages, drawing and natural science] their advantages, and has another in a higher degree than either of them.
Most readers will agree that a prime requisite for healthful experience in public speaking is that the attention of the speaker and hearers alike be drawn wholly away from the speaker and concentrated upon the thought. In perhaps no other classroom is this so easy as in the mathematical, where the close reasoning, the rigorous demonstration, the tracing of necessary conclusions from given hypotheses, commands and secures the entire mental power of the student who is explaining, and of his classmates. In what other circumstances do students feel so instinctively that manner counts for so little and mind for so much? In what other circumstances, therefore, is a simple, unaffected, easy, graceful manner so naturally and so healthfully cultivated? Mannerisms that are mere affectation or the result of bad literary habit recede to the background and finally disappear, while those peculiarities that are the expression of personality and are inseparable from its activity continually develop, where the student frequently presents, to an audience of his intellectual peers, a connected train of reasoning. …
One would almost wish that our institutions of the science and art of public speaking would put over their doors the motto that Plato had over the entrance to his school of philosophy: “Let no one who is unacquainted with geometry enter here.”
In A Scrap-book of Elementary Mathematics: Notes, Recreations, Essays (1908), 210-211.
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Alexander Pope quote: One Science only will one Genius fit;So vast is Art, so narrow Human Wit.
One Science only will one Genius fit;
So vast is Art, so narrow Human Wit.
An Essay on Criticism (1709), 6.
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Only about seventy years ago was chemistry, like a grain of seed from a ripe fruit, separated from the other physical sciences. With Black, Cavendish and Priestley, its new era began. Medicine, pharmacy, and the useful arts, had prepared the soil upon which this seed was to germinate and to flourish.
Familiar Letters on Chemistry (1851),5.
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Only the healing art enables one to make a name for himself and at the same time give benefit to others.
Chinese proverb.
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Only the privileged few are called to enjoy it [mathematics] fully, it is true; but is it not the same with all the noblest arts?
From 'The Relation of Analysis and Mathematical Physics', Bulletin American Mathematical Society (1899), 4 (1899), 248. As cited in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 181.
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Our ability to perceive quality in nature begins, as in art, with the pretty. It expands through successive stages of the beautiful to values as yet uncaptured by language.
In A Sand County Almanac, and Sketches Here and There (1949, 1987), 96.
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Our aim [with poetry therapy] is to help the individual learn the art of helping himself or herself. We believe strongly with Walt Whitman, who wrote, “I am larger, better than I thought/I did not know I held so much goodness.”
As given in obituary, Myrna Oliver, 'Arthur Lerner; Promoted Use of Poetry in Therapy', Los Angeles Times (8 Apr 1998), quoting from a The Times article (1987).
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Our delight in any particular study, art, or science rises and improves in proportion to the application which we bestow upon it. Thus, what was at first an exercise becomes at length an entertainment.
In The Spectator (2 Aug 1712), No. 447, collected in The Spectator (9th ed., 1728), Vol. 6, 225.
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Our most distinguished “man of science” was the then veteran John Dalton. He was rarely absent from his seat in a warm corner of the room during the meetings of the Literary and Philosophical Society. Though a sober-minded Quaker, he was not devoid of some sense of fun; and there was a tradition amongst us, not only that he had once been a poet, but that, although a bachelor, two manuscript copies were still extant of his verses on the subject of matrimonial felicity; and it is my belief there was foundation for the tradition. The old man was sensitive on the subject of his age. Dining one day ... he was placed between two ladies ... [who] resolved to extract from him some admission on the tender point, but in vain. Though never other than courteous, Dalton foiled all their feminine arts and retained his secret. ... Dalton's quaint and diminutive figure was a strongly individualized one.
In Reminiscences of a Yorkshire Naturalist (1896), 73-74.
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Papyra, throned upon the banks of Nile,
Spread her smooth leaf, and waved her silver style.
The storied pyramid, the laurel’d bust,
The trophy’d arch had crumbled into dust;
The sacred symbol, and the epic song (Unknown the character, forgot the tongue,)
With each unconquer’d chief, or sainted maid,
Sunk undistinguish’d in Oblivion’s shade.
Sad o’er the scatter’d ruins Genius sigh’d,
And infant Arts but learn’d to lisp, and died.
Till to astonish’d realms Papyra taught To paint in mystic colours Sound and Thought,
With Wisdom’s voice to print the page sublime,
And mark in adamant the steps of Time.
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Paradoxical as it may at first appear, the fact is that, as W. H. George has said, scientific research is an art, not a science.
The Art of Scientific Investigation (1950, 1957), 138.
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Paris ... On this side of the ocean it is difficult to understand the susceptibility of American citizens on the subject and precisely why they should so stubbornly cling to the biblical version. It is said in Genesis the first man came from mud and mud is not anything very clean. In any case if the Darwinian hypothesis should irritate any one it should only be the monkey. The monkey is an innocent animal—a vegetarian by birth. He never placed God on a cross, knows nothing of the art of war, does not practice lynch law and never dreams of assassinating his fellow beings. The day when science definitely recognizes him as the father of the human race the monkey will have no occasion to be proud of his descendants. That is why it must be concluded that the American Association which is prosecuting the teacher of evolution can be no other than the Society for Prevention of Cruelty to Animals.
[A cynical article in the French press on the Scopes Monkey Trial, whether it will decide “a monkey or Adam was the grandfather of Uncle Sam.”]
Newspaper
Article from a French daily newspaper on the day hearings at the Scopes Monkey Trial began, Paris Soir (13 Jul 1925), quoted in 'French Satirize the Case', New York Times (14 Jul 1925), 3.
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Perhaps the best reason for regarding mathematics as an art is not so much that it affords an outlet for creative activity as that it provides spiritual values. It puts man in touch with the highest aspirations and lofiest goals. It offers intellectual delight and the exultation of resolving the mysteries of the universe.
Mathematics: a Cultural Approach (1962), 671. Quoted in H. E. Hunter, The Divine Proportion (1970), 6.
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Persons possessing great intellect and a capacity for excelling in the creative arts and also in the sciences are generally likely to have heavier brains than the ordinary individual. Arguing from this we might expect to find a corresponding lightness in the brain of the criminal, but this is not always the case ... Many criminals show not a single anomaly in their physical or mental make-up, while many persons with marked evidences of morphological aberration have never exhibited the criminal tendency.
Every attempt to prove crime to be due to a constitution peculiar only to criminals has failed signally. It is because most criminals are drawn from the ranks of the low, the degraded, the outcast, that investigators were ever deceived into attempting to set up a 'type' of criminal. The social conditions which foster the great majority of crimes are more needful of study and improvement.
From study of known normal brains we have learned that there is a certain range of variation. No two brains are exactly alike, and the greatest source of error in the assertions of Benedict and Lombroso has been the finding of this or that variation in a criminal’s brains, and maintaining such to be characteristic of the 'criminal constitution,' unmindful of the fact that like variations of structure may and do exist in the brains of normal, moral persons.
Address to the American Association for the Advancement of Science in Philadelphia (28 Dec 1904), as quoted in 'Americans of Future Will Have Best Brains', New York Times (29 Dec 1904), 6.
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Philosophy may teach us to bear with equanimity the misfortunes of our neighbours, and science resolve the moral sense into a secretion of sugar, but art is what makes the life of each citizen a sacrament.
In Epigrams of Oscar Wilde (2007), 48.
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PHOTOGRAPH, n. A picture painted by the sun without instruction in art.
The Collected Works of Ambrose Bierce (1911), Vol. 7, The Devil's Dictionary,  251.
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Physicians are some of them so pleasing and conformable to the humour of the patient, as they press not the true cure of the disease : and some other are so regular in proceeding according to art for the disease, as they respect not sufficiently the condition of the patient.
XXX. Of Regimen of Health,' Essays (1597). In Francis Bacon and Basil Montagu, The Works of Francis Bacon, Lord Chancellor of England (1852), 39.
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Poore soule, in this thy flesh what do'st thou know?
Thou know'st thy selfe so little, as thou know'st not.
How thou did'st die, nor how thou wast begot.
Thou neither know'st how thou at first camest in,
Nor how thou took'st the poyson of mans sin.
Nor dost thou, (though thou know'st, that thou art so)
By what way thou art made immortall, know.
Thou art too narrow, wretch, to comprehend
Even thy selfe; yea though thou wouldst but bend
To know thy body. Have not all soules thought
For many ages, that our body'is wrought
Of Ayre, and Fire, and other Elements?
And now they thinke of new ingredients,
And one soule thinkes one, and another way
Another thinkes, and 'tis an even lay.
Knowst thou but how the stone doth enter in
The bladder's Cave, and never breake the skin?
Knowst thou how blood, which to the hart doth flow,
Doth from one ventricle to th'other go?
And for the putrid stuffe, which thou dost spit,
Knowst thou how thy lungs have attracted it?
There are no passages, so that there is
(For aught thou knowst) piercing of substances.
And of those many opinions which men raise
Of Nailes and Haires, dost thou know which to praise?
What hope have we to know our selves, when wee
Know not the least things, which for our use bee?
Of the Progresse of the Soule. The Second Anniversarie, I. 254-280. The Works of John Donne (Wordsworth edition 1994), 196-7.
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Professor Ayrton said that we were gradually coming within thinkable distance of the realization of a prophecy he had ventured to make four years before, of a time when, if a person wanted to call to a friend he knew not where, he would call in a very loud electromagnetic voice, heard by him who had the electromagnetic ear, silent to him who had it not. “Where are you?” he would say. A small reply would come, “I am at the bottom of a coalmine, or crossing the Andes, or in the middle of the Atlantic.” Or, perhaps in spite of all the calling, no reply would come, and the person would then know that his friend was dead. Think of what this would mean ... a real communication from a distance based on true physical laws.
[His prophecy of cell phones, as a comment on Marconi's paper, 'Syntonic Wireless Telegraphy,' read before the Society of Arts, 15 May 1901, about his early radio signal experiments.]
From Engineering Magazine (Jul 1901) as described in 'Marconi and his Transatlantic Signal', The Century Illustrated Monthly Magazine (1902), Vol. 63, 782.
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Psychiatry is the art of teaching people how to stand on their own feet while reclining on couches.
In Ashton Applewhite, Tripp Evans, Andrew Frothingham, And I Quote (1992), 232. [Webmaster found no primary print source. Can you help?]
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Psychology is in its infancy as a science. I hope, in the interests of art, it will always remain so.
In Epigrams of Oscar Wilde (2007), 51.
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Raising children is a creative endeavor, an art rather than a science.
A Good Enough Parent (1988), 14.
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Reflexes and instincts are not pretty. It is their decoration that initiates art.
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Research is the art of seeing what everyone else has seen, and doing what no-one else has done.
Anonymous
In Barbara A. Nadel (ed.), Building Security (2004), 18.1. Compare quote by Albert Szent-Gyorgyi: “Discovery consists of seeing what everybody has seen and thinking what nobody has thought.”
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Say’st thou, “The Course of Nature governs All?”
The Course of Nature is the Art of GOD.
The Complaint: or, Night-Thoughts on Life, Death, and Immortality (1742, 1750), Night 9, 273.
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Science and art are only too often a superior kind of dope, possessing this advantage over booze and morphia: that they can be indulged in with a good conscience and with the conviction that, in the process of indulging, one is leading the “higher life.”
Ends and Means (1937), 320. In Collected Essays (1959), 369.
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Science and art are the handmaids of religion.
In collection compiled by Charles Noel Douglas, Forty Thousand Quotations, Prose and Poetical (1917), 1536. That is predated by a statement, without quotation marks, merely descriptive of Delsarte’s frame of mind, in F. A. Dursvage, 'Delsarte', Atlantic Monthly (May 1871), 620, printed as: Like all minds of high rank, he [Delsarte] holds that science and art are the handmaids of religion.
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Science and art belong to the whole world, and the barriers of nationality vanish before them.
Wissenschaft und Kunst gehoren der Welt an, und vor ihhen verschwinden die Schranken der Nationalitat.
From 'In a Conversation With a German Historian' (1813), in Kate Louise Roberts (ed.), Hoyt’s New Cyclopedia of Practical Quotations (1922), 691.
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Science and art, or by the same token, poetry and prose differ from one another like a journey and an excursion. The purpose of the journey is its goal, the purpose of an excursion is the process.
Notebooks and Diaries (1838). In The Columbia World of Quotations (1996).
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Science and technology, and the various forms of art, all unite humanity in a single and interconnected system. As science progresses, the worldwide cooperation of scientists and technologists becomes more and more of a special and distinct intellectual community of friendship, in which, in place of antagonism, there is growing up a mutually advantageous sharing of work, a coordination of efforts, a common language for the exchange of information, and a solidarity, which are in many cases independent of the social and political differences of individual states.
In The Medvedev Papers (1970).
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Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve. Music and art are, to an extent, also attempts to solve or at least express the mystery. But to my mind the more we progress with either the more we are brought into harmony with all nature itself. And that is one of the great services of science to the individual.
In Max Planck and James Vincent Murphy (trans.), Where is Science Going?, (1932), Epilogue, 217.
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Science deals exclusively with things as they are in themselves; and art exclusively with things as they affect the human sense and human soul.
From Stones of Venice (1851, 1886), Vol. 3, 36.
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Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.
From essay 'The Imagination of Disaster', collected in Against Interpretation and Other Essays (1966, 2001), 213.
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Science has to do with facts, art with phenomena. To science, phenomena are of use only as they lead to facts; and to art, facts are of use only as they lead to phenomena.
From Stones of Venice (1851, 1886), Vol. 3, 36.
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Science is a human activity, and the best way to understand it is to understand the individual human beings who practise it. Science is an art form and not a philosophical method. The great advances in science usually result from new tools rather than from new doctrines. ... Every time we introduce a new tool, it always leads to new and unexpected discoveries, because Nature's imagination is richer than ours.
Concluding remark from 'The Scientist As Rebel' American Mathemtical Monthly (1996), 103, 805. Reprinted in The Scientist as Rebel (2006), 17-18, identified as originally written for a lecture (1992), then published as an essay in the New York Review.
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Science is feasible when the variables are few and can be enumerated; when their combinations are distinct and clear. We are tending toward the condition of science and aspiring to do it. The artist works out his own formulas; the interest of science lies in the art of making science.
In Moralités (1932). Reprinted in J. Matthews (ed.), Collected Works (1970). As cited in Robert Andrews (ed.), The Columbia Dictionary of Quotations (1993), 810.
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Science is our century's art.
The Search for Solutions (1980), 10.
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Science is spectral analysis. Art is light synthesis.
Pro domo et Mundo, (1912), 83. Translated by Harry Zohn (ed.), in 'Riddles and Solutions', Half-Truths and One-And-A-Half-Truths: Selected Aphorisms (1976), 47. From the original German, “Wissenschaft ist Spektralanalyse. Kunst ist Lichtsynthese.”
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Science is spectrum analysis: Art is photosynthesis.
As quoted in H.W. Auden, The Faber Book of Aphorisms (1962), 263.
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Science is the art of the appropriate approximation. While the flat earth model is usually spoken of with derision it is still widely used. Flat maps, either in atlases or road maps, use the flat earth model as an approximation to the more complicated shape.
In 'On the Nature of Science', Physics in Canada (Jan/Feb 2007), 63, No. 1, 13.
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Science is the attempt to discern the order that underlies the chaos of nature; art is the attempt to discern the order that underlies the chaos of man.
In The Strength To Dream: Literature and the Imagination (1961), 197.
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Science is the Differential Calculus of the mind. Art the Integral Calculus; they may be beautiful when apart, but are greatest only when combined.
Quoted in The Complete Poems of Hugh MacDiarmid 1920-76 (1978), Vol. 2, 1360.
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Science is the reduction of the bewildering diversity of unique events to manageable uniformity within one of a number of symbol systems, and technology is the art of using these symbol systems so as to control and organize unique events. Scientific observation is always a viewing of things through the refracting medium of a symbol system, and technological praxis is always handling of things in ways that some symbol system has dictated. Education in science and technology is essentially education on the symbol level.
Essay in Daedalus (Spring1962), 279.
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Science is what we understand well enough to explain to a computer. Art is everything else we do.
…...
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Science provides an understanding of a universal experience, and arts provides a universal understanding of a personal experience.
In online transcript of TED talk, 'Mae Jemison on teaching arts and sciences together' (2002).
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Science studies the relations of things to each other: but art studies only their relations to man.
From Stones of Venice (1851, 1886), Vol. 3, 36.
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Science, philosophy, religion and art are forms of knowledge. The method of science is experiment; the method of philosophy is speculation; the method of religion and art is moral or esthetic emotional inspiration.
In 'Forms of Knowledge', Tertium Organum: The Third Canon of Thought; a Key to the Enigmas of the World (1922), 231.
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Science! true daughter of Old Time thou art!
alterest all things with thy peering eyes.
preyest thou thus upon the poet’s heart,
Vulture, whose wings are dull realities?
How should he love thee? or how deem thee wise,
Who wouldst not leave him in his wandering .
To seek for treasure in the jewelled skies,
Albeit he soared with an undaunted wing?
Hast thou not dragged Diana from her car?
And driven the Hamadryad from the wood
To seek a shelter in some happier star?
Hast thou not torn the Naiad from her flood,
The Elfin from the green grass, and from me
The summer dread beneath the tamarind tree?
Sonnet, 'To Science' (1829), Saturday Evening Post (11 Sep 1830). In Poems of Edgar Allan Poe (1917), 33, and Notes, 169.
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Scientific research is not itself a science; it is still an art or craft.
In The Scientist in Action: A Scientific Study of His Methods (1938), 29.
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Scientific truth is universal, because it is only discovered by the human brain and not made by it, as art is.
In On Aggression (2002), 279.
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Scientific work, especially mathematical work which is purely conceptual, may indeed possess the appearance of beauty, because of the inner coherence which it shares with fine art, or may resemble a piece of architecture.
From 'Characters of the Beautiful', Beauty, Chap. 3, collected in Collected Works Of Samuel Alexander (2000), 51-52.
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Scientists in general are not very articulate; they work in comparative seclusion and they do not cultivate the art of persuasion. But now a new era has emerged, and reticence is no longer a virtue.
The Nature of Science and Other Lectures (1954), 3.
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Scientists wrote beautifully through the 19th century and on into the early 20th. But somewhere after that, coincident with the explosive growth of research, the art of writing science suffered a grave setback, and the stultifying convention descended that the best scientific prose should sound like a non-human author addressing a mechanical reader.
In Boojums All the Way Through: Communicating Science in a Prosaic Age (1990), Preface, xii.
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Seldom has there occurred a more pitifully tragic disaster than the sudden fall of the Wright aeroplane, involving the death of that promising young officer Lieut. Thomas Selfridge, and inflicting shocking injuries on the talented inventor, Orville Wright. But although the accident is deplorable, it should not be allowed to discredit the art of aeroplane navigation. If it emphasizes the risks, there is nothing in the mishap to shake our faith in the principles upon which the Wright brothers built their machine, and achieved such brilliant success.
In Scientific American (Sep 1908). As cited in '50, 100 & 150 Years Ago', Scientific American (Sep 2008), 299, No. 3, 14.
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Sight is a faculty; seeing, an art.
Man and Nature, (1864), 10.
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Silence is one great art of conversation.
Characteristics: In the Manner of Rochefoucault's Maxims (1837), 24.
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So requisite is the use of Astrology to the Arts of Divination, as it were the Key that opens the door of all their Mysteries.
In The Vanity of Arts and Sciences (1676), 109.
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Society is indeed a contract. … It is a partnership in all science; a partnership in all art; a partnership in every virtue, and in all perfection. As the ends of such a partnership cannot be obtained in many generations, it becomes a partnership not only between those who are living, but between those who are living, those who are dead, and those who are to be born.
Reflections on the Revolution in France (1790, 2005), 54.
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Society itself, which should create Kindness, destroys what little we had got:
To feel for none is the true social art
Of the world’s stoics—men without a heart.
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Some gifted adventurer is always sailing round the world of art and science, to bring home costly merchandise from every port.
Pleasures, Objects, and Advantages of Literature (1855), 53.
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Space is the breath of art.
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Study the science of art. Study the art of science. Develop your senses - especially learn how to see. Realize that everything connects to everything else.
…...
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Suppose then I want to give myself a little training in the art of reasoning; suppose I want to get out of the region of conjecture and probability, free myself from the difficult task of weighing evidence, and putting instances together to arrive at general propositions, and simply desire to know how to deal with my general propositions when I get them, and how to deduce right inferences from them; it is clear that I shall obtain this sort of discipline best in those departments of thought in which the first principles are unquestionably true. For in all our thinking, if we come to erroneous conclusions, we come to them either by accepting false premises to start with—in which case our reasoning, however good, will not save us from error; or by reasoning badly, in which case the data we start from may be perfectly sound, and yet our conclusions may be false. But in the mathematical or pure sciences,—geometry, arithmetic, algebra, trigonometry, the calculus of variations or of curves,— we know at least that there is not, and cannot be, error in our first principles, and we may therefore fasten our whole attention upon the processes. As mere exercises in logic, therefore, these sciences, based as they all are on primary truths relating to space and number, have always been supposed to furnish the most exact discipline. When Plato wrote over the portal of his school. “Let no one ignorant of geometry enter here,” he did not mean that questions relating to lines and surfaces would be discussed by his disciples. On the contrary, the topics to which he directed their attention were some of the deepest problems,— social, political, moral,—on which the mind could exercise itself. Plato and his followers tried to think out together conclusions respecting the being, the duty, and the destiny of man, and the relation in which he stood to the gods and to the unseen world. What had geometry to do with these things? Simply this: That a man whose mind has not undergone a rigorous training in systematic thinking, and in the art of drawing legitimate inferences from premises, was unfitted to enter on the discussion of these high topics; and that the sort of logical discipline which he needed was most likely to be obtained from geometry—the only mathematical science which in Plato’s time had been formulated and reduced to a system. And we in this country [England] have long acted on the same principle. Our future lawyers, clergy, and statesmen are expected at the University to learn a good deal about curves, and angles, and numbers and proportions; not because these subjects have the smallest relation to the needs of their lives, but because in the very act of learning them they are likely to acquire that habit of steadfast and accurate thinking, which is indispensable to success in all the pursuits of life.
In Lectures on Teaching (1906), 891-92.
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Surely the claim of mathematics to take a place among the liberal arts must now be admitted as fully made good. Whether we look at the advances made in modern geometry, in modern integral calculus, or in modern algebra, in each of these three a free handling of the material employed is now possible, and an almost unlimited scope is left to the regulated play of fancy. It seems to me that the whole of aesthetic (so far as at present revealed) may be regarded as a scheme having four centres, which may be treated as the four apices of a tetrahedron, namely Epic, Music, Plastic, and Mathematic. There will be found a common plane to every three of these, outside of which lies the fourth; and through every two may be drawn a common axis opposite to the axis passing through the other two. So far is certain and demonstrable. I think it also possible that there is a centre of gravity to each set of three, and that the line joining each such centre with the outside apex will intersect in a common point the centre of gravity of the whole body of aesthetic; but what that centre is or must be I have not had time to think out.
In 'Proof of the Hitherto Undemonstrated Fundamental Theorem of Invariants', Collected Mathematical Papers (1909), Vol. 3, 123.
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Surrealists … are not exactly artists and we are not exactly men of science; … we are carnivorous fish … swimming between two kinds of water, the cold water of art and the warm water of science.
In Conquest of the Irrational (1935), 10.
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Sweet is the lore which Nature brings;
Our meddling intellect
Mis-shapes the beauteous forms of things
We murder to dissect.

Enough of Science and of Art;
Close up these barren leaves;
Come forth, and bring with you a heart
That watches and receives.
In poem, 'The Tables Turned: An Evening Scene, on the Same Subject', Lyrical Ballads: With a Few Other Poems (1798), 188.
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Take the sum of human achievement in action, in science, in art, in literature—subtract the work of the men above forty, and while we should miss great treasures, even priceless treasures, we would practically be where we are today. … The effective, moving, vitalizing work of the world is done between the ages of twenty-five and forty.
In farewell address, Johns Hopkins University, 'The Fixed Period', as quoted in Harvey Cushing, The Life of Sir William Osier (1925), vol. 1, 666.
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Teaching is not a lost art, but the regard for it is a lost tradition.
Teacher in America (1954), 16.
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Technology is … “practical arts”; in that guise, technology has been around for a good two million years. The Pleistocene spearpoint flaked from pink flint…was the high technology of its day, as sophisticated and effective as a samurai sword or a fighter jet.
In 'Introduction', Visions of Technology (1999), 21-22
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Technology is a gift of God. After the gift of life it is perhaps the greatest of God's gifts. It is the mother of civilizations, of arts and of sciences.
Infinite in All Directions: Gifford lectures given at Aberdeen, Scotland (2004), 270.
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Tedious as it may appear to some to dwell on the discovery of odds and ends that have, no doubt, been thrown away by the owner as rubbish ... yet it is by the study of such trivial details that Archaeology is mainly dependent for determining the date of earthworks. ... Next to coins fragments of pottery afford the most reliable of all evidence ... In my judgement, a fragment of pottery, if it throws light on the history of our own country and people, is of more interest to the scientific collector of evidence in England, than even a work of art and merit that is associated only with races that we are remotely connected with.
On the importance of pottery to an archaeologist.
Excavations in Bokerly and Wansdyke, vol. 3, ix-30. Quoted in Cambridge Antiquarian Society, Proceedings (1895), vol. 8, 180.
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That alone is worthy to be called Natural History, which investigates and records the condition of living things, of things in a state of nature; if animals, of living animals:— which tells of their 'sayings and doings,' their varied notes and utterances, songs and cries; their actions, in ease and under the pressure of circumstances; their affections and passions, towards their young, towards each other, towards other animals, towards man: their various arts and devices, to protect their progeny, to procure food, to escape from their enemies, to defend themselves from attacks; their ingenious resources for concealment; their stratagems to overcome their victims; their modes of bringing forth, of feeding, and of training, their offspring; the relations of their structure to their wants and habits; the countries in which they dwell; their connexion with the intimate world around them, mountain or plain, forest or field, barren heath or bushy dell, open savanna or wild hidden glen, river, lake, or sea:— this would be indeed zoology, i.e. the science of living creatures.
A Naturalist's Sojourn in Jamaica (1851), vi-vii.
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That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
Letter to Ludovico Cigoli. Quoted in Robert Enggass, Jonathan Brown, Italian and Spanish Art, 1600-1750 (1992), 22.
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That the master manufacturer, by dividing the work to be executed into different processes, each requiring different degrees of skill or of force, can purchase precisely the precise quantity of both which is necessary for each process; whereas, if the whole work were executed by one workman, that person must possess sufficient skill to perform the most difficult, and sufficient strength to execute the most laborious, of the operations into which the art is divided.
In 'On the Division of Labour', Economy of Machinery and Manufactures (1st ed., 1832), chap. 18, 127.
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That which lies before the human race is a constant struggle to maintain and improve, in opposition to State of Nature, the State of Art of an organized polity; in which, and by which, man may develop a worthy civilization
'Prolegomena', Evolution and Ethics, and Other Essays (1897), 45.
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The species and the genus are always the work of nature [i.e. specially created]; the variety mostly that of circumstance; the class and the order are the work of nature and art.
Philosophia Botanica (1751), aphorism 162. Trans. Frans A. Statfleu, Linnaeus and the Linnaeans: The Spreading of their Ideas in Systematic Botany, 1735-1789 (1971), 67.
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The Almighty lecturer, by displaying the principles of science in the structure of the universe, has invited man to study and to imitation. It is as if he had said to the inhabitants of this globe that we call ours, “I have made an earth for man to dwell upon, and I have rendered the starry heavens visible, to teach him science and the arts. He can now provide for his own comfort, and learn from my munificence to all, to be kind to all, to be kind to each other.”
In The Age of Reason: Being an Investigation of True and Fabulous Theology (27 Jan O.S. 1794), 44.
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The analogies between science and art are very good as long as you are talking about the creation and the performance. The creation is certainly very analogous. The aesthetic pleasure of the craftsmanship of performance is also very strong in science.
As quoted in Robert S. Root-Bernstein, Michele M. Root-Bernstein, Sparks of Genius: The Thirteen Thinking Tools of the World's Most Creative People (2013), 11.
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The ancients thought as clearly as we do, had greater skills in the arts and in architecture, but they had never learned the use of the great instrument which has given man control over nature—experiment.
Address at the opening of the new Pathological Institute of the Royal Infirmary, Glasgow (4 Oct 1911). Printed in 'The Pathological Institute of a General Hospital', Glasgow Medical Journal (1911), 76, 327.
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The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgement that all work done by the other arts is put to test. This knowledge is the child of practice and theory.
Vitruvius
In De Architectura, Book 1, Chap 1, Sec. 1. As translated in Morris Hicky Morgan (trans.), Vitruvius: The Ten Books on Architecture (1914), 3.
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The art and science of asking questions is the source of all knowledge.
Epigraph, without source citation, in The Art & Science of Assessing General Education Outcomes: A Practical Guide (2005), 1.
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The art of being wise is the art of knowing what to overlook.
In The Principles of Psychology (1918), Vol. 2, 369.
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The art of causing intemperance and health to exist in the same body is as chimerical as the philosopher’s stone, judicial astrology, and the theology of the magi.
From the original French, “L'art de faire subsister ensemble l'intempérance et la santé, est un art aussi chimérique que la pierre philosophale, l'astrologie judiciaire, et la théologie des magies”, in Zadig. Accompanied with the translation in Craufurd Tait Ramage, Beautiful Thoughts from French and Italian Authors (1866), 371.
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The art of discovering the causes of phenomena, or true hypothesis, is like the art of deciphering, in which an ingenious conjecture greatly shortens the road.
In Gottfried Leibniz and Alfred Fideon Langley (trans.), 'Leibniz’s Critique of Locke', New Essays Concerning Human Understanding (1896), Book 4, Chap. 12, 526.
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The art of doing mathematics consists in finding that special case which contains all the germs of generality.
Given as “attributed (apocryphally perhaps)” and no further citation; stated without quotation marks, in M. Kac, 'Wiener and Integration in Function Spaces', Bulletin of the American Mathematical Society (Jan 1966), 72, No. 1, Part 2, 65. This issue of the Bulletin, subtitled 'Norbert Wiener 1894-1964', Felix E. Browder (ed.), was dedicated to the memory of Norbert Wiener.
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The art of drawing conclusions from experiments and observations consists in evaluating probabilities and in estimating whether they are sufficiently great or numerous enough to constitute proofs. This kind of calculation is more complicated and more difficult than it is commonly thought to be. … It is above all in medicine that the difficulty of evaluating the probabilities is greater.
Translated by I.M.L. Donaldson, from an undated document collected in Mémoires de Lavoisier, Oeuvres (1865), Tome III, 509. From the original French, “L’art de conclure d’après des expériences et des observations consiste à évaluer des probabilités, et à estimer si elles sont assez grandes ou assez multipliées pour constituer des preuves. Ce genre de calcul est plus compliqué et plus difficile qu’on ne pense. … C’est surtout en médecine que la difficulté d’évaluer les probabilités est plus grande.”
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The art of flying has only just been born; it will be perfected, and some day we’ll go to the Moon.
In Entretiens sur la Pluralité des Mondes (1686), as translated in Conversations on the Plurality of Worlds (1990), 34.
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The art of healing is like an unroofed temple, uncovered at the top and cracked at the foundation.
Quoted by Isaac Jennings, in Medical Reform; a Treatise on Man's Physical Being and Disorders (1847), 33.
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The art of invention grows young with the things invented.
Quoted by Bacon as a Maxim. As given in Gurney Benham, A Book of Quotations, Proverbs and Household Words (1907), 494.
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The art of medicine consists of amusing the patient while nature cures the disease.
Attributed. Webmaster has found no other citation. See, for example, Bill Swainson, Encarta Book of Quotations (2000), 961.
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The art of progress is to preserve order amid change and to preserve change amid order. Life refuses to be embalmed alive. The more prolonged the halt in some unrelieved system of order, the greater the crash of the dead society.
In Process and Reality: An Essay in Cosmology (1929), 515. As cited in Paul Grimley Kuntz, Alfred North Whitehead (1984), 14.
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The art of reasoning consists in getting hold of the subject at the right end, of seizing on the few general ideas that illuminate the whole, and of persistently organizing all subsidiary facts round them.
In 'Presidential Address to the London Branch of the Mathematical Association', Mathematical Gazette (Mar 1913), 7, No. 104, 92.
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The art of research [is] the art of making difficult problems soluble by devising means of getting at them.
Pluto's Republic (1982), 2.
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The art of simplicity is a puzzle of complexity.
…...
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The art of those who govern…, consists above all in the science of employing words.
From the original French, “L’art des gouvernants…, consiste surtout a savoir manier les mots,” in Psychologie des Foules (1895), 95. English text in The Crowd: A Study of the Popular Mind (1897), Book 2. Chap. 2, 101.
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The art of writing history is the art of emphasizing the significant facts at the expense of the insignificant. And it is the same in every field of knowledge. Knowledge is power only if a man knows what facts not to bother about.
In The Orange Tree: A Volume of Essays (1926), 60.
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The Arts & Sciences are the Destruction of Tyrannies or Bad Governments. Why should a good government endeavour to depress what is its chief and only support.
Marginal note (c. 1808) written in his copy of The Works of Sir Joshua Reynolds (1798), on table of contents. As given in William Blake, Edwin John Ellis (ed.) and William Butler Yeats (ed.), The Works of William Blake (1893), Vol. 2, 319.
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The beauty and genius of a work of art may be reconceived, though its first material expression be destroyed; a vanished harmony may yet again inspire the composer, but when the last individual of a race of living things breathes no more, another heaven and another earth must pass before such a one can be again.
In The Bird: Its Form and Function (1906), Vol. 1, 18.
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The beginning of civilisation is the discovery of some useful arts, by which men acquire property, comforts, or luxuries. The necessity or desire of preserving them leads to laws and social institutions. The discovery of peculiar arts gives superiority to particular nations ... to subjugate other nations, who learn their arts, and ultimately adopt their manners;— so that in reality the origin as well as the progress and improvement of civil society is founded in mechanical and chemical inventions.
Consolations In Travel; or, the Last Days of a Philosopher (1830), 228.
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The blood, the fountain whence the spirits flow,
The generous stream that waters every part,
And motion, vigour, and warm life conveys
To every Particle that moves or lives;
This vital fluid, thro' unnumber'd tubes
Pour'd by the heart, and to the heart again
Refunded; scourg'd forever round and round;
Enrag'd with heat and toil, at last forgets
Its balmy nature; virulent and thin
It grows; and now, but that a thousand gates
Are open to its flight, it would destroy
The parts it cherish' d and repair'd before.
Besides, the flexible and tender tubes
Melt in the mildest, most nectareous tide
That ripening Nature rolls; as in the stream
Its crumbling banks; but what the vital force
Of plastic fluids hourly batters down,
That very force, those plastic particles
Rebuild: so mutable the state of man.
For this the watchful appetite was given,
Daily with fresh materials to repair
This unavoidable expense of life,
This necessary waste of flesh and blood.
Hence the concoctive powers, with various art,
Subdue the cruder aliments to chyle;
The chyle to blood; the foamy purple tide
To liquors, which through finer arteries
To different parts their winding course pursue;
To try new changes, and new forms put on,
Or for the public, or some private use.
The Art of Preserving Health (1744), book 2, I. 12-23, p.15-16.
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The business of their weekly Meetings shall be, To order, take account, consider, and discourse of Philosophical Experiments, and Observations: to read, hear, and discourse upon Letters, Reports, and other Papers containing Philosophical matters, as also to view, and discourse upon the productions and rarities of Nature, and Art: and to consider what to deduce from them, or how they may be improv'd for use, or discovery.
'An Abstract of the Statutes of the Royal Society', in Thomas Sprat, History of the Royal Society (1667), 145.
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The canons of art depend on what they appeal to. Painting appeals to the eye, and is founded on the science of optics. Music appeals to the ear and is founded on the science of acoustics. The drama appeals to human nature, and must have as its ultimate basis the science of psychology and physiology.
In Letter (Jul 1883) to Marie Prescott, in Oscar Wilde, ‎Jules Barbey d'Aurevilly, ‎Lady Wilde, The Writings of Oscar Wilde (1907), Vol. 15, 153-154.
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The capacity to be puzzled is … the premise of all creation, be it in art or in science.
In 'The Creative Attitude,' in Creativity and Its Cultivation edited by Harold H. Anderson (1959).
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The chemist studies the effects produced by heat and by mixture, in all bodies, or mixtures of bodies, natural or artificial, and studies them with a view to the improvement of arts, and the knowledge of nature.
Restating his own definition in fewer words, from the first of a series of lectures on chemistry, collected in John Robison (ed.), Lectures on the Elements of Chemistry: Delivered in the University of Edinburgh (1807), Vol. 1, 11.
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The chief art of learning, as Locke has observed, is to attempt but little at a time. The widest excursions of the mind are made by short flights frequently repeated; the most lofty fabrics of science are formed by the continued accumulation of single propositions.
'The Need For General Knowledge,' Rambler No. 137 (9 Jul 1751). In Samuel Johnson, Donald Greene (ed.), Samuel Johnson (1984), 223.
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The close observation of little things is the secret of success in business, in art, in science, and in every pursuit in life.
In Self-help: With Illustrations of Character and Conduct (1861), 100.
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The Congress shall have power to ... promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries.
Founding U.S. Patents.
Constitution of the United States, Art. 1, Sec.8, Par. 8. In George Sewall Boutwell, The Constitution of the United States at the End of the First Century (1895), 219.
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The contradictory experiments of chemists leave us at liberty to conclude what we please. My conclusion is, that art has not yet invented sufficient aids to enable such subtle bodies [air, light, &c.] to make a well-defined impression on organs as blunt as ours; that it is laudable to encourage investigation but to hold back conclusion.
Letter to Rev. James Madison (Paris, 19 Jul 1788). In Thomas Jefferson and John P. Foley (ed.), The Jeffersonian Cyclopedia (1900), 135. From H.A. Washington, The Writings of Thomas Jefferson (1853-54). Vol 2, 431.
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The dance is four-dimensional art in that it moves concretely in both space and time. For the onlooker, it is an art largely of visual space combined with time. But for the dancer, and this is more important, the dance is more a muscular than a visual space rhythm, a muscular time, a muscular movement and balance. Dancing is not animated sculpture, it is kinesthetic.
In Art Is Action: A Discussion of Nine Arts in a Modern World (1939), 56.
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The desire for truth so prominent in the quest of science, a reaching out of the spirit from its isolation to something beyond, a response to beauty in nature and art, an Inner Light of conviction and guidance—are these as much a part of our being as our sensitivity to sense impressions?
Swarthmore Lecture (1929) at Friends’ House, London, printed in Science and the Unseen World (1929), 42-43.
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The discoveries of science, the works of art are explorations—more, are explosions, of a hidden likeness. The discoverer or artist presents in them two aspects of nature and fuses them into one. This is the act of creation, in which an original thought is born, and it is the same act in original science and original art.
From Science and Human Values (1956), 30.
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The discovery of the conic sections, attributed to Plato, first threw open the higher species of form to the contemplation of geometers. But for this discovery, which was probably regarded in Plato’s tune and long after him, as the unprofitable amusement of a speculative brain, the whole course of practical philosophy of the present day, of the science of astronomy, of the theory of projectiles, of the art of navigation, might have run in a different channel; and the greatest discovery that has ever been made in the history of the world, the law of universal gravitation, with its innumerable direct and indirect consequences and applications to every department of human research and industry, might never to this hour have been elicited.
In 'A Probationary Lecture on Geometry, Collected Mathematical Papers, Vol. 2 (1908), 7.
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The due cultivation of practical manual arts in a nation, has a greater tendency to polish, and humanize mankind, than mere speculative science, however refined and sublime it may be.
From 'Artist and Mechanic', The artist & Tradesman’s Guide: embracing some leading facts & principles of science, and a variety of matter adapted to the wants of the artist, mechanic, manufacturer, and mercantile community (1827), 143.
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The essence of knowledge is generalization. That fire can be produced by rubbing wood in a certain way is a knowledge derived by generalization from individual experiences; the statement means that rubbing wood in this way will always produce fire. The art of discovery is therefore the art of correct generalization. ... The separation of relevant from irrelevant factors is the beginning of knowledge.
The Rise of Scientific Philosophy (1951), 5.
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The expenditure [on building railways] of £286,000,000 by the people has secured to us the advantages of internal communication all but perfect,—of progress in science and arts unexampled at any period of the history of the world,—of national progress almost unchecked, and of prosperity and happiness increased beyond all precedent.
From 'Railway System and its Results' (Jan 1856) read to the Institution of Civil Engineers, reprinted in Samuel Smiles, Life of George Stephenson (1857), 512.
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The faculty of art is to change events; the faculty of science is to foresee them. The phenomena with which we deal are controlled by art; they are predicted by science.
'The Influence of Women on the Progress of Knowledge,', a discourse delivered at the Royal Institution (19 Mar 1858) reprinted from Fraser's Magazine (Apr 1858) in The Miscellaneous and Posthumous Works of Henry Thomas Buckle (1872), Vol. 1, 4. Quoted in James Wood, Dictionary of Quotations from Ancient and Modern, English and Foreign Sources (1893), 426:46.
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The fairest thing we can experience is the mysterious. It is the fundamental emotion which stands at the cradle of true art and true science. He who knows it not and can no longer wonder, no longer feel amazement, is as good as dead, a snuffed-out candle. It was the experience of mystery–even if mixed with fear–that engendered religion. A knowledge of the existence of something we cannot penetrate, of the manifestations of the profoundest reason and the most radiant beauty, which are only accessible to our reason in their most elementary forms–it is this knowledge and this emotion that constitute the truly religious attitude; in this sense, and in this alone, I am a deeply religious man.
From 'What I Believe: Living Philosophies XIII', Forum and Century (Oct 1930), 84, No. 4, 193-194. Alan Harris (trans.), The World as I See It (1956, 1993), 5.
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The finest emotion of which we are capable is the mystic emotion. Herein lies the germ of all art and all true science.
Quoted in Kim Lim (ed.), 1,001 Pearls of Spiritual Wisdom: Words to Enrich, Inspire, and Guide Your Life (2014), 16
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The focal points of our different reflections have been called “science”’ or “art” according to the nature of their “formal” objects, to use the language of logic. If the object leads to action, we give the name of “art” to the compendium of rules governing its use and to their technical order. If the object is merely contemplated under different aspects, the compendium and technical order of the observations concerning this object are called “science.” Thus metaphysics is a science and ethics is an art. The same is true of theology and pyrotechnics.
Definition of 'Art', Encyclopédie (1751). Translated by Nelly S. Hoyt and Thomas Cassirer (1965), 4.
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The footsteps of Nature are to be trac'd, not only in her ordinary course, but when she seems to be put to her shifts, to make many doublings and turnings, and to use some kind of art in endeavouring to avoid our discovery.
Micrographia (1665, reprint 2008), 17.
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The forms of art are inexhaustible; but all lead by the same road of aesthetic emotion to the same world of aesthetic ecstasy.
In Art (1913), 37.
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The Foundation of Empire is Art & Science. Remove them, or Degrade them, & the Empire is No More. Empire follows Art, & not Vice Versa as Englishmen suppose.
Marginal note (c. 1808) written in his copy of The Works of Sir Joshua Reynolds (1798), at foot of first page of table of contents. As given in William Blake, Edwin John Ellis (ed.) and William Butler Yeats (ed.), The Works of William Blake (1893), Vol. 2, 319.
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The frontiers of science are separated now by long years of study, by specialized vocabularies, arts, techniques, and knowledge from the common heritage even of a most civilized society; and anyone working at the frontier of such science is in that sense a very long way from home, a long way too from the practical arts that were its matrix and origin, as indeed they were of what we today call art.
Address at the close of the year-long Bicentennial Celebration of Columbia University (26 Dec 54). Printed in 'Prospects in the Arts and Sciences', Bulletin of the Atomic Scientists (Feb 1955), 52.
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The function of Art is to imitate Nature in her manner of operation. Our understanding of “her manner of operation” changes according to advances in the sciences.
John Cage
A Year from Monday (1969), 31.
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The future science of government should be called “la cybernétique”.
In Essai sur la philosophie des sciences, ou Exposition analytique d'une classification naturelle de toutes les connaissances humaines (1834). Coining the French word to mean “the art of governing,” from the Greek (Kybernetes = navigator or steersman), subsequently adopted as cybernetics by Norbert Weiner for the field of control and communication theory (see Oxford English Dictionary).
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The great art consists in devising décisive experiments, leaving no place to the imagination of the observer. Imagination is needed to give wings to thought at the beginning of experimental investigations on any given subject. When, however, the time has come to conclude, and to interpret the facts derived from observations, imagination must submit to the factual results of the experiments.
Speech (8 Jul 1876), to the French Academy of Medicine. As translated in René J. Dubos, Louis Pasteur, Free Lance of Science (1950, 1986), 376. Date of speech identified in Maurice B. Strauss, Familiar Medical Quotations (1968), 502.
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The great art of learning is to undertake but little at a time
In Hialmer Day Gould, New Practical Spelling (1905), 14.
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The great art of life is sensation, to feel that we exist, even in pain.
…...
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The great error of the 19th century, in morality as well as in science and art, has been to mingle and confound man and nature without pausing to consider that in art as in science and morality he is a man only in so far as he distinguishes himself from nature and makes himself an exception to it.
As quoted in Working and Thinking on the Waterfront: A Journal, June 1958-May 1959 (1969), 122.
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The great moral teachers of humanity were, in a way, artistic geniuses in the art of living.
In 'Science and Religion: Irreconcilable?', Ideas and Opinions (1954), 51.
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The history of Europe is the history of Rome curbing the Hebrew and the Greek, with their various impulses of religion, and of science, and of art, and of quest for material comfort, and of lust of domination, which are all at daggers drawn with each other. The vision of Rome is the vision of the unity of civilisation.
In 'The Place of Classics in Education', The Aims of Education and Other Essays (1929), 79.
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The immediate object of all art is either pleasure or utility: the immediate object of all science is solely truth.
Lecture (19 Mar 1858) at the Royal Institution, 'The Influence Of Women On The Progress Of Knowledge', collected in The Miscellaneous and Posthumous Works of Henry Thomas Buckle (1872), Vol. 1, 4. Published in Frazier’s Magazine (Apr 1858).
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The instinct for collecting, which began as in other animals as an adaptive property, could always in man spread beyond reason; it could become a hoarding mania. But in its normal form it provides a means of livelihood at the hunting and collecting stage of human evolution. It is then attached to a variety of rational aptitudes, above all in observing, classifying, and naming plants, animals and minerals, skills diversely displayed by primitive peoples. These skills with an instinctive beginning were the foundation of most of the civilised arts and sciences. Attached to other skills in advanced societies they promote the formation of museums and libraries; detached, they lead to acquisition and classification by eccentric individuals, often without any purpose or value at all.
As quoted in Richard Fifield, 'Cytologist Supreme', New Scientist (16 Apr 1981), 90, No. 1249, 179; citing C.D. Darlington, The Little Universe of Man (1978).
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The invention of what we may call primary or fundamental notation has been but little indebted to analogy, evidently owing to the small extent of ideas in which comparison can be made useful. But at the same time analogy should be attended to, even if for no other reason than that, by making the invention of notation an art, the exertion of individual caprice ceases to be allowable. Nothing is more easy than the invention of notation, and nothing of worse example and consequence than the confusion of mathematical expressions by unknown symbols. If new notation be advisable, permanently or temporarily, it should carry with it some mark of distinction from that which is already in use, unless it be a demonstrable extension of the latter.
In 'Calculus of Functions', Encyclopaedia of Pure Mathematics (1847), Addition to Article 26, 388.
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The logic of the subject [algebra], which, both educationally and scientifically speaking, is the most important part of it, is wholly neglected. The whole training consists in example grinding. What should have been merely the help to attain the end has become the end itself. The result is that algebra, as we teach it, is neither an art nor a science, but an ill-digested farrago of rules, whose object is the solution of examination problems. … The result, so far as problems worked in examinations go, is, after all, very miserable, as the reiterated complaints of examiners show; the effect on the examinee is a well-known enervation of mind, an almost incurable superficiality, which might be called Problematic Paralysis—a disease which unfits a man to follow an argument extending beyond the length of a printed octavo page.
In Presidential Address British Association for the Advancement of Science (1885), Nature, 32, 447-448.
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The mathematic, then, is an art. As such it has its styles and style periods. It is not, as the layman and the philosopher (who is in this matter a layman too) imagine, substantially unalterable, but subject like every art to unnoticed changes form epoch to epoch. The development of the great arts ought never to be treated without an (assuredly not unprofitable) side-glance at contemporary mathematics.
In Oswald Spengler and Charles Francis Atkinson (trans.), The Decline of the West (1926), 62.
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The mathematician can afford to leave to his clients, the engineers, or perhaps the popular philosophers, the emotion of belief: for himself he keeps the lyrical pleasure of metre and of evolving equations: and it is a pleasant surprise to him and an added problem if he finds that the arts can use his calculations, or that the senses can verify them, much as if a composer found that sailors could heave better when singing his songs.
In 'Revolution in Science', Some Turns of Thought in Modern Philosophy (1933), 81.
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The mathematician may be compared to a designer of garments, who is utterly oblivious of the creatures whom his garments may fit. To be sure, his art originated in the necessity for clothing such creatures, but this was long ago; to this day a shape will occasionally appear which will fit into the garment as if the garment had been made for it. Then there is no end of surprise and delight.
Number: the Language of Science (1930), 231.
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The mathematician’s best work is art, a high and perfect art, as daring as the most secret dreams of imagination, clear, and limpid. Mathematical genius and artistic genius touch each other.
As quoted in Havelock Ellis, The Dance of Life (1923), 139.
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The mathematician’s best work is art, a high perfect art, as daring as the most secret dreams of imagination, clear and limpid. Mathematical genius and artistic genius touch one another.
As quoted, without citation, in Havelock Ellis, The Dance of Life (1923), 139.
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The Mathematics, I say, which effectually exercises, not vainly deludes or vexatiously torments studious Minds with obscure Subtilties, perplexed Difficulties, or contentious Disquisitions; which overcomes without Opposition, triumphs without Pomp, compels without Force, and rules absolutely without Loss of Liberty; which does not privately over-reach a weak Faith, but openly assaults an armed Reason, obtains a total Victory, and puts on inevitable Chains; whose Words are so many Oracles, and Works as many Miracles; which blabs out nothing rashly, nor designs anything from the Purpose, but plainly demonstrates and readily performs all Things within its Verge; which obtrudes no false Shadow of Science, but the very Science itself, the Mind firmly adhering to it, as soon as possessed of it, and can never after desert it of its own Accord, or be deprived of it by any Force of others: Lastly the Mathematics, which depends upon Principles clear to the Mind, and agreeable to Experience; which draws certain Conclusions, instructs by profitable Rules, unfolds pleasant Questions; and produces wonderful Effects; which is the fruitful Parent of, I had almost said all, Arts, the unshaken Foundation of Sciences, and the plentiful Fountain of Advantage to human Affairs.
Address to the University of Cambridge upon being elected Lucasian Professor of Mathematics (14 Mar 1664). In Mathematical Lectures (1734), xxviii.
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The method of science depends on our attempts to describe the world with simple theories: theories that are complex may become untestable, even if they happen to be true. Science may be described as the art of systematic over-simplification—the art of discerning what we may with advantage omit.
Karl Raimund Popper and William Warren Bartley (ed.), The Open Universe: an Argument for Indeterminism (1991), 44. by Karl Raimund Popper, William Warren Bartley - Science - 1991
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The microbial global brain—gifted with long-range transport, data trading, genetic variants … and the ability to reinvent genomes—began its operations some 91 trillion bacterial generations before the birth of the Internet. Ancient bacteria, if they functioned like those today, had mastered the art of worldwide information exchange. … The earliest microorganisms would have used planet-sweeping currents of wind and water to carry the scraps of genetic code…
In 'Creative Nets in the Precambrian Era', Global Brain: The Evolution of Mass Mind from the Big Bang to the 21st Century (2000), 18-19.
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The modern naturalist must realize that in some of its branches his profession, while more than ever a science, has also become an art.
African Game Trails (1910), 17.
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The more I study the things of the mind the more mathematical I find them. In them as in mathematics it is a question of quantities; they must be treated with precision. I have never had more satisfaction than in proving this in the realms of art, politics and history.
Notes made after the completion of the third chapter of Vol. 3 of La Rivolution, 22 April 1883. In E. Sparvel-Bayly (trans.), Life and Letters of H. Taine (1902-1908), Vol. 3, 239.
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The more we study Art, the less we care for Nature. What Art really reveals to us is Nature’s lack of design, her curious crudities, her extraordinary monotony, her absolutely unfinished condition. … It is fortunate for us, however, that Nature is so imperfect, as otherwise we should have had no art at all. Art is our spirited protest, our gallant attempt to teach Nature her proper place. As for the infinite variety of Nature, that is a pure myth. It is not to be found in Nature herself. It resides in the imagination, or fancy, or cultivated blindness of the man who looks at her.
In 'Decay of Lying', The Writings of Oscar Wilde: Epigrams, Phrases and Philosophies For the Use of the Young (1907), 5.
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The most beautiful and deepest experience a man can have is the sense of the mysterious. It is the underlying principle of religion as well as all serious endeavour in art and science. He who never had this experience seems to me, if not dead, then at least blind. To sense that behind anything that can be experienced there is a something that our mind cannot grasp and whose beauty and sublimity reaches us only indirectly and as a feeble reflection, this is religiousness.
…...
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The most beautiful emotion we can experience is the mystical. It is the power of all true art and science. He to whom this emotion is a stranger, who can no longer wonder and stand rapt in awe, is as good as dead. To know that what is impenetrable to us really exists, manifesting itself as the highest wisdom and the most radiant beauty, which our dull faculties can comprehend only in their most primitive forms — this knowledge, this feeling, is at the center of true religiousness. In this sense, and in this sense only, I belong to the rank of devoutly religious men.
As quoted in Philip Frank, Einstein: His Life and Times (1947), chap. 12, sec. 5 - “Einstein’s Attitude Toward Religion.”
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The most beautiful thing to experience is the mysterious. It is the true source of life, art and science.
This is seen around the Web attributed to Talbot, but is not his original idea. It is an abridged statement, from a longer quote by Albert Einstein in his 'Credo' (1932).
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The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed.
'The World As I See It', Forum and Century Oct 1930), 84, 193-194. Albert Einstein and Carl Seelig. Ideas and Opinions, based on Mein Weltbild (1954), 11.
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The nature of light is a subject of no material importance to the concerns of life or to the practice of the arts, but it is in many other respects extremely interesting.
Lecture 39, 'On the Nature of Light and Colours', A Course of Lectures on Natural Philosophy and the Mechanical Arts (1845), Vol. 1, 359.
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The nature of things betrays itself more readily under the vexations of art than in its natural freedom.
The Great Instauration. In James Spedding, The Works of Francis Bacon: Translations of the Philosophical Works (1869), 48.
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The new painters do not propose, any more than did their predecessors, to be geometers. But it may be said that geometry is to the plastic arts what grammar is to the art of the writer. Today, scholars no longer limit themselves to the three dimensions of Euclid. The painters have been lead quite naturally, one might say by intuition, to preoccupy themselves with the new possibilities of spatial measurement which, in the language of the modern studios, are designated by the term fourth dimension.
The Cubist Painters: Aesthetic Meditations (1913) translated by Lionel Abel (1970), 13. Quoted in Michele Emmer, The Visual Mind II (2005), 352.
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THE OATH. I swear by Apollo [the healing God], the physician and Aesclepius [son of Apollo], and Health [Hygeia], and All-heal [Panacea], and all the gods and goddesses, that, according to my ability and judgment, I will keep this Oath and this stipulation—to reckon him who taught me this Art equally dear to me as my parents, to share my substance with him, and relieve his necessities if required; to look upon his offspring in the same footing as my own brothers, and to teach them this art, if they shall wish to learn it, without fee or stipulation; and that by precept, lecture, and every other mode of instruction, I will impart a knowledge of the Art to my own sons, and those of my teachers, and to disciples bound by a stipulation and oath according to the law of medicine, but to none others. I will follow that system of regimen which, according to my ability and judgment, I consider for the benefit of my patients, and abstain from whatever is deleterious and mischievous. I will give no deadly medicine to any one if asked, nor suggest any such counsel; and in like manner I will not give to a woman a pessary to produce abortion. With purity and with holiness I will pass my life and practice my Art. I will not cut persons laboring under the stone, but will leave this to be done by men who are practitioners of this work. Into whatever houses I enter, I will go into them for the benefit of the sick, and will abstain from every voluntary act of mischief and corruption; and, further, from the seduction of females or males, of freemen and slaves. Whatever, in connection with my professional practice or not, in connection with it, I see or hear, in the life of men, which ought not to be spoken of abroad, I will not divulge, as reckoning that all such should be kept secret. While I continue to keep this Oath unviolated, may it be granted to me to enjoy life and the practice of the art, respected by all men, in all times! But should I trespass and violate this Oath, may the reverse be my lot!
The Genuine Works of Hippocrates, trans. Francis Adams (1886), Vol. 2, 344-5.
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The object of science is knowledge; the objects of art are works. In art, truth is the means to an end; in science, it is the only end. Hence the practical arts are not to be classed among the sciences
Aphorism 25, 'Aphorisms Respecting Knowledge', The Philosophy of the Inductive Sciences (1840), Vol. 1, xli.
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The only true voyage of discovery, the only fountain of Eternal Youth, would be not to visit strange lands but to possess other eyes, to behold the universe through the eyes of another, of a hundred others, to behold the hundred universes that each of them beholds, that each of them is.
From La Prisonnière (1923), a volume in the series of novels À la Recherche du Temps Perdu (Remembrance of Things Past). Translated by C.K. Moncrief as The Captive (1929, 1949), 70-71. This text is often seen paraphrased as “The real voyage of discovery consists not in seeing new sights, but in looking with new eyes.” [Note that the context refers to the “eyes” of artists (including composers), and their ability to transport the viewer or listener with “a pair of wings, … which would enable us to traverse infinite space” to see new vistas through their art.]
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The Patent-Office Commissioner knows that all machines in use have been invented and re-invented over and over; that the mariner’s compass, the boat, the pendulum, glass, movable types, the kaleidoscope, the railway, the power-loom, etc., have been many times found and lost, from Egypt, China and Pompeii down; and if we have arts which Rome wanted, so also Rome had arts which we have lost; that the invention of yesterday of making wood indestructible by means of vapor of coal-oil or paraffine was suggested by the Egyptian method which has preserved its mummy-cases four thousand years.
In Lecture, second in a series given at Freeman Place Chapel, Boston (Mar 1859), 'Quotation and Originality', Letters and Social Aims (1875, 1917), 178-179.
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The physician should look upon the patient as a besieged city and try to rescue him with every means that art and science place at his command.
Attributed. Peter McDonald, In The Oxford Dictionary of Medical Quotations (2004), 2.
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The practice of medicine is a thinker’s art, the practice of surgery a plumber’s.
In Fischerisms (1930), 7.
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The pragmatist knows that doubt is an art which has to be acquired with difficulty.
In Charles S. Peirce, ‎Charles Hartshorne (ed.), ‎Paul Weiss (ed.), Collected Papers of Charles Sanders Peirce (1931), Vol. 6, 498. Also published in combined volumes 5 & 6 (1974), 343.
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The private motives of scientists are not the trend of science. The trend of science is made by the needs of society: navigation before the eighteenth century, manufacture thereafter; and in our age I believe the liberation of personality. Whatever the part which scientists like to act, or for that matter which painters like to dress, science shares the aims of our society just as art does.
From The Common Sense of Science (1951), 145.
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The progress of the art of rational discovery depends in a great part upon the art of characteristic (ars characteristica). The reason why people usually seek demonstrations only in numbers and lines and things represented by these is none other than that there are not, outside of numbers, convenient characters corresponding to the notions.
Translated by Gerhard from Philosophische Schriften, 8, 198. As quoted in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 205.
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The rallying motto of a sectarian name is incapable of exciting to sober, calm, scientific investigation; it only rouses the explosive spirit of accusations of heresy to a fierce volcanic flame. Truth and the weal of humanity should be the only motto of the genuine elucidators of the art, and the watchword of their brotherly, peaceful bond of union, without slavish adherence to any sectarian leader, if we would not see the little good that we know completely sacrificed to party spirit and discord.
In 'View of Professional Liberality at the Commencement of the Nineteenth Century' from the Allgemeiner Anzeiger d. D. No. 32 (1801), collected in R.E. Dudgeon (ed., trans.) The Lesser Writings of Samuel Hahnemann (1851), 363.
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The ravages committed by man subvert the relations and destroy the balance which nature had established between her organized and her inorganic creations; and she avenges herself upon the intruder, by letting loose upon her defaced provinces destructive energies hitherto kept in check by organic forces destined to be his best auxiliaries, but which he has unwisely dispersed and driven from the field of action. When the forest is gone, the great reservoir of moisture stored up in its vegetable mould is evaporated, and returns only in deluges of rain to wash away the parched dust into which that mould has been converted. The well-wooded and humid hills are turned to ridges of dry rock, which encumbers the low grounds and chokes the watercourses with its debris, and–except in countries favored with an equable distribution of rain through the seasons, and a moderate and regular inclination of surface–the whole earth, unless rescued by human art from the physical degradation to which it tends, becomes an assemblage of bald mountains, of barren, turfless hills, and of swampy and malarious plains. There are parts of Asia Minor, of Northern Africa, of Greece, and even of Alpine Europe, where the operation of causes set in action by man has brought the face of the earth to a desolation almost as complete as that of the moon; and though, within that brief space of time which we call “the historical period,” they are known to have been covered with luxuriant woods, verdant pastures, and fertile meadows, they are now too far deteriorated to be reclaimable by man, nor can they become again fitted for human use, except through great geological changes, or other mysterious influences or agencies of which we have no present knowledge, and over which we have no prospective control. The earth is fast becoming an unfit home for its noblest inhabitant, and another era of equal human crime and human improvidence, and of like duration with that through which traces of that crime and that improvidence extend, would reduce it to such a condition of impoverished productiveness, of shattered surface, of climatic excess, as to threaten the depravation, barbarism, and perhaps even extinction of the species.
Man and Nature, (1864), 42-3.
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The reason I cannot really say that I positively enjoy nature is that I do not quite realize what it is that I enjoy. A work of art, on the other hand, I can grasp. I can — if I may put it this way — find that Archimedian point, and as soon as I have found it, everything is readily clear for me. Then I am able to pursue this one main idea and see how all the details serve to illuminate it.
Søren Kierkegaard, translation by Howard Vincent Hong and Edna Hatlestad Hong Søren Kierkegaard’s Journal and Papers (1834), 50.
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The reason it is so hard to attain to something good in any of the arts and sciences is that it involves attaining to a certain stipulated point; to do something badly according to a predetermined rule would be just as hard, if indeed it would then still deserve to be called bad.
Aphorism 53 in Notebook C (1772-1773), as translated by R.J. Hollingdale in Aphorisms (1990). Reprinted as The Waste Books (2000), 42.
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The remotest discoveries of the Chemist, the Botanist, or the Mineralogist, will be as proper objects of the Poet’s art as any upon which it can be employed, if the time should ever come when these things shall be familiar to us, and the relations under which they are contemplated by the followers of these respective sciences shall be manifestly and palpably material to us as enjoying and suffering beings.
In W. J. B. Owen (ed.), Preface to the Lyrical Ballads (1800, 1957), 124-125.
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The same thing may have all the kinds of causes, e.g. the moving cause of a house is the art or the builder, the final cause is the function it fulfils, the matter is earth and stones, and the form is the definitory formula.
Aristotle
Metaphysics, 996b, 5-8. In Jonathan Barnes (ed.), The Complete Works of Aristotle (1984), Vol. 2, 1574.
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The science of calculation … becomes continually more necessary at each step of our progress, and … must ultimately govern the whole of the applications of science to the arts of life.
In 'Future Prospects', On the Economy of Machinery and Manufactures (1st ed., 1832), chap. 32, 278.
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The science, the art, the jurisprudence, the chief political and social theories, of the modern world have grown out of Greece and Rome—not by favour of, but in the teeth of, the fundamental teachings of early Christianity, to which science, art, and any serious occupation with the things of this world were alike despicable.
'Agnosticism and Christianity'. Collected Essays (1900), 315.
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The sciences and arts are not cast in a mold, but formed and shaped little by little, by repeated handling and polishing, as bears lick their cubs into shape at leisure.
In Donald M. Frame (trans.), The Complete Essays of Montaigne (1958), 421.
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The sciences are of a sociable disposition, and flourish best in the neighborhood of each other; nor is there any branch of learning but may be helped and improved by assistance drawn from other arts.
'On the Study of Law', Commentaries on the Laws of England (1765-69). Introduction. In Tryon Edwards. A Dictionary of Thoughts (1908), 506.
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The sciences are taught in following order: morality, arithmetic, accounts, agriculture, geometry, longimetry, astronomy, geomancy, economics, the art of government, physic, logic, natural philosophy, abstract mathematics, divinity, and history.
From Ain-i-Akbery (c.1590). As translated from the original Persian, by Francis Gladwin in 'Akbar’s Conduct and Administrative Rules', 'Regulations For Teaching in the Public Schools', Ayeen Akbery: Or, The Institutes of the Emperor Akber (1783), Vol. 1, 290. Note: Akbar (Akber) was a great ruler; he was an enlightened statesman. He instituted a great system for general education.
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The sense for style … is an aesthetic sense, based on admiration for the direct attainment of a foreseen end, simply and without waste. Style in art, style in literature, style in science, style in logic, style in practical execution have fundamentally the same aesthetic qualities, namely, attainment and restraint. The love of a subject in itself and for itself, where it is not the sleepy pleasure of pacing a mental quarter-deck, is the love of style as manifested in that study. Here we are brought back to the position from which we started, the utility of education. Style, in its finest sense, is the last acquirement of the educated mind; it is also the most useful. It pervades the whole being. The administrator with a sense for style hates waste; the engineer with a sense for style economises his material; the artisan with a sense for style prefers good work. Style is the ultimate morality of the mind.
In 'The Aims of Education', The Aims of Education and Other Essays (1929), 23.
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The so-called ‘crank’ may be quite original in his ideas. … Invention, however, in the engineering sense involves originality; but not that alone, if the results are to be of value. There is imagination more or less fertile, but with it a knowledge of what has been done before, carried perhaps by the memory, together with a sense of the present or prospective needs in art or industry. Necessity is not always the mother of invention. It may be prevision.
Address as M.I.T. acting president, to the graduating class (11 Jun 1920). Published in Massachusetts Institute of Technology, Technology Review (Jul 1920), 22, 419-420.
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The spirit of science arises from the habit of seeking food; the spirit of art arises from the habit of imitation, by which the young animal first learns to feed; the spirit of music arises from primeval speech, by means of which males and females are attracted to each other.
In The Martyrdom of Man (1876), 443.
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The starting-point for all systems of æsthetics must be the personal experience of a peculiar emotion. The objects that provoke this emotion we call works of art.
In Art (1913), 8.
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The story of a theory’s failure often strikes readers as sad and unsatisfying. Since science thrives on self-correction, we who practice this most challenging of human arts do not share such a feeling. We may be unhappy if a favored hypothesis loses or chagrined if theories that we proposed prove inadequate. But refutation almost always contains positive lessons that overwhelm disappointment, even when no new and comprehensive theory has yet filled the void.
…...
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The study of origins is the art of drawing sufficient conclusions from insufficient evidence.
As quoted in John Noble Wilford, 'Sizing up the Cosmos: An Astronomers Quest', New York Times (12 Mar 1991), C10.
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The subject matter of the scientist is a crowd of natural events at all times; he presupposes that this crowd is not real but apparent, and seeks to discover the true place of events in the system of nature. The subject matter of the poet is a crowd of historical occasions of feeling recollected from the past; he presupposes that this crowd is real but should not be, and seeks to transform it into a community. Both science and art are primarily spiritual activities, whatever practical applications may be derived from their results. Disorder, lack of meaning, are spiritual not physical discomforts, order and sense spiritual not physical satisfactions.
The Dyer’s Hand and Other Essays (1965), 66.
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The sum of human happiness would not necessarily be reduced if for ten years every physical and chemical laboratory were closed and the patient and resourceful energy displayed in them transferred to the lost art of getting on together and finding the formula for making both ends meet in the scale of human life.
In a speech to the British Association for the Advancement of Science, Leeds, September 4, 1927.
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The surgeon is a man of action. By temperament and by training he prefers to serve the sick by operating on them, and he inwardly commiserates with a patient so unfortunate as to have a disease not suited to surgical treatment. Young surgeons, busy mastering the technicalities of the art, are particularly alert to seize every legitimate opportunity to practice technical maneuvers, the more complicated the better.
American Journal of Surgery.
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The true excellence and importance of those arts and sciences which exert and display themselves in writing, may be seen, in a more general point of view, in the great influence which they have exerted on the character and fate of nations, throughout the history of the world.
In Lectures on the History of Literature, Ancient and Modern (1841), 10.
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The truth of art keeps science from becoming inhuman, and the truth of science keeps art from becoming ridiculous.
In 'Great Thought' (19 Feb 1938), The Notebooks of Raymond Chandler and English Summer: A Gothic Romance, (1976), 7.
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The understanding must not however be allowed to jump and fly from particulars to axioms remote and of almost the highest generality (such as the first principles, as they are called, of arts and things), and taking stand upon them as truths that cannot be shaken, proceed to prove and frame the middle axioms by reference to them; which has been the practice hitherto, the understanding being not only carried that way by a natural impulse, but also by the use of syllogistic demonstration trained and inured to it. But then, and then only, may we hope well of the sciences when in a just scale of ascent, and by successive steps not interrupted or broken, we rise from particulars to lesser axioms; and then to middle axioms, one above the other; and last of all to the most general. For the lowest axioms differ but slightly from bare experience, while the highest and most general (which we now have) are notional and abstract and without solidity. But the middle are the true and solid and living axioms, on which depend the affairs and fortunes of men; and above them again, last of all, those which are indeed the most general; such, I mean, as are not abstract, but of which those intermediate axioms are really limitations.
The understanding must not therefore be supplied with wings, but rather hung with weights, to keep it from leaping and flying. Now this has never yet been done; when it is done, we may entertain better hopes of science.
From Novum Organum (1620), Book 1, Aphorism 104. Translated as The New Organon: Aphorisms Concerning the Interpretation of Nature and the Kingdom of Man), collected in James Spedding, Robert Ellis and Douglas Heath (eds.), The Works of Francis Bacon (1857), Vol. 4, 97.
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The universe flows, carrying with it milky ways and worlds, Gondwanas and Eurasias, inconsistent visions and clumsy systems. But the good conceptual models, these serena templa of intelligence on which several masters have worked, never disappear entirely. They are the great legacy of the past. They linger under more and more harmonious forms and actually never cease to grow. They bring solace by the great art that is inseparable from them. Their permanence relies on the immortal poetry of truth, of the truth that is given to us in minute amounts, foretelling an order whose majesty dominates time.
In Tectonics of Asia (1924, 1977), 164, trans. Albert V. and Marguerite Carozzi.
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The value of mathematical instruction as a preparation for those more difficult investigations, consists in the applicability not of its doctrines but of its methods. Mathematics will ever remain the past perfect type of the deductive method in general; and the applications of mathematics to the simpler branches of physics furnish the only school in which philosophers can effectually learn the most difficult and important of their art, the employment of the laws of simpler phenomena for explaining and predicting those of the more complex. These grounds are quite sufficient for deeming mathematical training an indispensable basis of real scientific education, and regarding with Plato, one who is … as wanting in one of the most essential qualifications for the successful cultivation of the higher branches of philosophy
In System of Logic, Bk. 3, chap. 24, sect. 9.
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The whole art of making experiments in chemistry is founded on the principle: we must always suppose an exact equality or equation between the principles of the body examined and those of the products of its analysis.
From Traité Élémentaire de Chimie (1789), 140. Translation as given in James Riddick Partington, A Short History of Chemistry (1960), 124. This is an alternate translation of part of the same passage on this page that begins “We may lay it down as an incontestible axiom…”
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The working of mines has always exerted such a deep influence on the evolution of science and civilization that one might compare the importance of mines in the history of science with that of temples in the history of art.
In 'The History of Science', The Monist (July 1916), 26, No. 3, 337.
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The world of mathematics, which you condemn, is really a beautiful world; it has nothing to do with life and death and human sordidness, but is eternal, cold and passionless. To me, pure, mathematics is one of the highest forms of art; it has a sublimity quite special to itself, and an immense dignity derived, from the fact that its world is exempt I, from change and time. I am quite serious in this. The only difficulty is that none but mathematicians can enter this enchanted region, and they hardly ever have a sense of beauty. And mathematics is the only thing we know of that is capable of perfection; in thinking about it we become Gods.
Letter to Helen Thomas (30 Dec 1901). Quoted in Nicholas Griffin (ed.), The Selected Letters of Bertrand Russell (1992), Vol. 1, 224.
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The worst state of affairs is when science begins to concern itself with art.
Paul Klee
…...
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The wounded surgeon plies the steel
That questions the distempered part;
Beneath the bleeding hands we feel
The sharp compassion of the healer’s art
Resolving the enigma of the fever chart.
'East Coker' (1940), Verse IV. Reprinted from the Easter Number of the New English Weekly (1940).
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There are few enough people with sufficient independence to see the weaknesses and follies of their contemporaries and remain themselves untouched by them. And these isolated few usually soon lose their zeal for putting things to rights when they have come face to face with human obduracy. Only to a tiny minority is it given to fascinate their generation by subtle humour and grace and to hold the mirror up to it by the impersonal agency of art. To-day I salute with sincere emotion the supreme master of this method, who has delighted–and educated–us all.
…...
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There are many arts and sciences of which a miner should not be ignorant. First there is Philosophy, that he may discern the origin, cause, and nature of subterranean things; for then he will be able to dig out the veins easily and advantageously, and to obtain more abundant results from his mining. Secondly there is Medicine, that he may be able to look after his diggers and other workman ... Thirdly follows astronomy, that he may know the divisions of the heavens and from them judge the directions of the veins. Fourthly, there is the science of Surveying that he may be able to estimate how deep a shaft should be sunk … Fifthly, his knowledge of Arithmetical Science should be such that he may calculate the cost to be incurred in the machinery and the working of the mine. Sixthly, his learning must comprise Architecture, that he himself may construct the various machines and timber work required underground … Next, he must have knowledge of Drawing, that he can draw plans of his machinery. Lastly, there is the Law, especially that dealing with metals, that he may claim his own rights, that he may undertake the duty of giving others his opinion on legal matters, that he may not take another man’s property and so make trouble for himself, and that he may fulfil his obligations to others according to the law.
In De Re Metallica (1556), trans. H.C. and L.H. Hoover (1950), 3-4.
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There are some arts which to those that possess them are painful, but to those that use them are helpful, a common good to laymen, but to those that practise them grievous. Of such arts there is one which the Greeks call medicine. For the medical man sees terrible sights, touches unpleasant things, and the misfortunes of others bring a harvest of sorrows that are peculiarly his; but the sick by means of the art rid themselves of the worst of evils, disease, suffering, pain and death.
Breaths, in Hippocrates, trans. W. H. S. Jones (1923), Vol. 2, 227.
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There are three departments of architecture: the art of building, the making of time-pieces, and the construction of machinery.
Vitruvius
In De Architectura, Book 1, Chap 3, Sec. 3. As translated in Morris Hicky Morgan (trans.), Vitruvius: The Ten Books on Architecture (1914), 16.
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There are two avenues from the little passions and the drear calamities of earth; both lead to the heaven and away from hell—Art and Science. But art is more godlike than science; science discovers, art creates.
Spoken by fictional character Zanoni in novel, Zanoni (1842), 6.
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There are two kinds of truth; the truth that lights the way and the truth that warms the heart. The first of these is science, and the second is art. Without art, science would be as useless as a pair of high forceps in the hands of a plumber. Without science, art would become a crude mess of folklore and emotional quackery.
In 'Great Thought' (19 Feb 1938), The Notebooks of Raymond Chandler and English Summer: A Gothic Romance, (1976), 7.
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There are young people who constantly come to tell me: you, too, are making Op Art. I haven’t the slightest idea what that is, Op Art. I’ve been doing this work for thirty years now.
As quoted, without citation, on the mcescher.com website.
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There is a great deal of emotional satisfaction in the elegant demonstration, in the elegant ordering of facts into theories, and in the still more satisfactory, still more emotionally exciting discovery that the theory is not quite right and has to be worked over again, very much as any other work of art—a painting, a sculpture has to be worked over in the interests of aesthetic perfection. So there is no scientist who is not to some extent worthy of being described as artist or poet.
'Scientist and Citizen', Speech to the Empire Club of Canada (29 Jan 1948), The Empire Club of Canada Speeches (29 Jan 1948), 209-221.
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There is an art to science, and science in art; the two are not enemies, but different aspects of the whole.
Epigraph in Isaac Asimov’s Book of Science and Nature Quotations (1988), 251.
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There is an attraction and a charm inherent in the colossal that is not subject to ordinary theories of art … The tower will be the tallest edifice ever raised by man. Will it therefore be imposing in its own way?
Quoted in J. Harriss, The Tallest Tower: Eiffel and the Belle Epoque (1975), 25. Cited by David P. Billington, 'Bridges and the New Art of Structural Engineering,' in National Research Council (U.S.). Transportation Research Board Subcommittee on Bridge Aesthetics, Bridge Aesthetics Around the World (1991), 67. From the original French in interview of Eiffel by Paul Bourde, in the newspaper Le Temps (14 Feb 1887). Reprinted in 'Au Jour le Jour: Les Artistes Contre la Tour Eiffel', Gazette Anecdotique, Littéraire, Artistique et Bibliographique (Feb 1887), 126, and in Gustave Eiffel, Travaux Scientifiques Exécutés à la Tour de 300 Mètres de 1889 à 1900 (1900), 14. “Il y a du reste dans le colossal une attraction, un charme propre auxquels les théories d’art ordinaires ne sont guère applicables. … Ma tour sera le plus haut édifice qu'aient jamais élevé les hommes. Ne serat-elle donc pas grandiose aussi a sa façon?
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There is no art or science that is too difficult for industry to attain to; it is the gift of tongues, and makes a man understood and valued in all countries, and by all nations; it is the philosopher's stone, that turns all metals, and even stones, into gold, and suffers not want to break into its dwelling; it is the northwest passage, that brings the merchant's ships as soon to him as he can desire: in a word, it conquers all enemies, and makes fortune itself pay contribution.
'Essay on Industry' (1670). In Thomas Henry Lister, Life and Administration of Edward, first Earl of Clarendon (1838), Vol. 2, 566.
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There is no art so difficult as the art of observation: it requires a skillful, sober spirit and a well-trained experience, which can only be acquired by practice; for he is not an observer who only sees the thing before him with his eyes, but he who sees of what parts the thing consists, and in what connexion the parts stand to the whole. One person overlooks half from inattention; another relates more than he sees while he confounds it with that which he figures to himself; another sees the parts of the whole, but he throws things together that ought to be separated. ... When the observer has ascertained the foundation of a phenomenon, and he is able to associate its conditions, he then proves while he endeavours to produce the phenomena at his will, the correctness of his observations by experiment. To make a series of experiments is often to decompose an opinion into its individual parts, and to prove it by a sensible phenomenon. The naturalist makes experiments in order to exhibit a phenomenon in all its different parts. When he is able to show of a series of phenomena, that they are all operations of the same cause, he arrives at a simple expression of their significance, which, in this case, is called a Law of Nature. We speak of a simple property as a Law of Nature when it serves for the explanation of one or more natural phenomena.
'The Study of the Natural Sciences: An Introductory Lecture to the Course of Experimental Chemistry in the University of Munich, for the Winter Session of 1852-53,' as translated and republished in The Medical Times and Gazette (22 Jan 1853), N.S. Vol. 6, 82.
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There is no patriotic art and no patriotic science.
In James Wood, Dictionary of Quotations from Ancient and Modern, English and Foreign Sources (1893), 473:44.
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There is one great difficulty with a good hypothesis. When it is completed and rounded, the corners smooth and the content cohesive and coherent, it is likely to become a thing in itself, a work of art. It is then like a finished sonnet or a painting completed. One hates to disturb it. Even if subsequent information should shoot a hole in it, one hates to tear it down because it once was beautiful and whole. One of our leading scientists, having reasoned a reef in the Pacific, was unable for a long time to reconcile the lack of a reef, indicated by soundings, with the reef his mind told him was there.
In John Steinbeck and Edward Flanders Ricketts Sea of Cortez: a Leisurely Journal of Travel and Research (1941), 179-80.
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There is plenty of room left for exact experiment in art, and the gate has been opened for some time. What had been accomplished in music by the end of the eighteenth century has only begun in the fine arts. Mathematics and physics have given us a clue in the form of rules to be strictly observed or departed from, as the case may be. Here salutary discipline is come to grips first of all with the function of forms, and not with form as the final result … in this way we learn how to look beyond the surface and get to the root of things.
Paul Klee
Quoted in The Bulletin of the Atomic Scientists (Feb 1959), 59, citing Bauhaus-Zeitschrijt (1928).
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There is probably nothing more sublime than discontent transmuted into a work of art, a scientific discovery, and so on.
In Working and Thinking on the Waterfront: A Journal, June 1958-May 1959 (1969), 65.
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There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless.
In Art (1913), 7.
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There will still be things that machines cannot do. They will not produce great art or great literature or great philosophy; they will not be able to discover the secret springs of happiness in the human heart; they will know nothing of love and friendship.
…...
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There's no art To find the mind's construction in the face.
Macbeth (1606), I, iv.
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Therefore I chance to think that all Nature and the graceful sky are symbolised in the art of geometry. … Now as God the maker play’d He taught the game to Nature whom He created in His image; taught her the self-same game which He played to her.
In Tertius Interveniens (1610), as quoted and cited in an epigraph, Jagdish Mehra, Einstein, Hilbert, and The Theory of Gravitation: Historical Origins (1974), 1.
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These creators, makers of the new, can never become obsolete, for in the arts there is no correct answer. The story of discoverers could be told in simple chronological order, since the latest science replaces what went before. But the arts are another story—a story of infinite addition. We must find order in the random flexings of the imagination.
In The Creators: A History of Heroes of the Imagination (1992), xv.
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These machines [used in the defense of the Syracusans against the Romans under Marcellus] he [Archimedes] had designed and contrived, not as matters of any importance, but as mere amusements in geometry; in compliance with king Hiero’s desire and request, some time before, that he should reduce to practice some part of his admirable speculation in science, and by accommodating the theoretic truth to sensation and ordinary use, bring it more within the appreciation of people in general. Eudoxus and Archytas had been the first originators of this far-famed and highly-prized art of mechanics, which they employed as an elegant illustration of geometrical truths, and as means of sustaining experimentally, to the satisfaction of the senses, conclusions too intricate for proof by words and diagrams. As, for example, to solve the problem, so often required in constructing geometrical figures, given the two extremes, to find the two mean lines of a proportion, both these mathematicians had recourse to the aid of instruments, adapting to their purpose certain curves and sections of lines. But what with Plato’s indignation at it, and his invectives against it as the mere corruption and annihilation of the one good of geometry,—which was thus shamefully turning its back upon the unembodied objects of pure intelligence to recur to sensation, and to ask help (not to be obtained without base supervisions and depravation) from matter; so it was that mechanics came to be separated from geometry, and, repudiated and neglected by philosophers, took its place as a military art.
Plutarch
In John Dryden (trans.), Life of Marcellus.
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They are the best physicians, who being great in learning most incline to the traditions of experience, or being distinguished in practice do not reflect the methods and generalities of art.
The Advancement of Learning, Bk IV, Ch. II.
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Think, for a moment, of a cheetah, a sleek, beautiful animal, one of the fastest on earth, which roams freely on the savannas of Africa. In its natural habitat, it is a magnificent animal, almost a work of art, unsurpassed in speed or grace by any other animal. Now, think of a cheetah that has been captured and thrown into a miserable cage in a zoo. It has lost its original grace and beauty, and is put on display for our amusement. We see only the broken spirit of the cheetah in the cage, not its original power and elegance. The cheetah can be compared to the laws of physics, which are beautiful in their natural setting. The natural habitat of the laws of physics is a higher-dimensional space-time. However, we can only measure the laws of physics when they have been broken and placed on display in a cage, which is our three-dimensional laboratory. We only see the cheetah when its grace and beauty have been stripped away.
In Hyperspace by Michio Kaku (1994).
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This [the fact that the pursuit of mathematics brings into harmonious action all the faculties of the human mind] accounts for the extraordinary longevity of all the greatest masters of the Analytic art, the Dii Majores of the mathematical Pantheon. Leibnitz lived to the age of 70; Euler to 76; Lagrange to 77; Laplace to 78; Gauss to 78; Plato, the supposed inventor of the conic sections, who made mathematics his study and delight, who called them the handles or aids to philosophy, the medicine of the soul, and is said never to have let a day go by without inventing some new theorems, lived to 82; Newton, the crown and glory of his race, to 85; Archimedes, the nearest akin, probably, to Newton in genius, was 75, and might have lived on to be 100, for aught we can guess to the contrary, when he was slain by the impatient and ill mannered sergeant, sent to bring him before the Roman general, in the full vigour of his faculties, and in the very act of working out a problem; Pythagoras, in whose school, I believe, the word mathematician (used, however, in a somewhat wider than its present sense) originated, the second founder of geometry, the inventor of the matchless theorem which goes by his name, the pre-cognizer of the undoubtedly mis-called Copernican theory, the discoverer of the regular solids and the musical canon who stands at the very apex of this pyramid of fame, (if we may credit the tradition) after spending 22 years studying in Egypt, and 12 in Babylon, opened school when 56 or 57 years old in Magna Græcia, married a young wife when past 60, and died, carrying on his work with energy unspent to the last, at the age of 99. The mathematician lives long and lives young; the wings of his soul do not early drop off, nor do its pores become clogged with the earthy particles blown from the dusty highways of vulgar life.
In Presidential Address to the British Association, Collected Mathematical Papers, Vol. 2 (1908), 658.
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This science [experimental science] alone, therefore, knows how to test perfectly what can be done by nature, what by the effort of art, what by trickery, what the incantations, conjurations, invocations, deprecations, sacrifices that belong to magic mean and dream of, and what is in them, so that all falsity may be removed and the truth alone of art and nature may be retained. This science alone teaches us how to view the mad acts of magicians, that they may be not ratified but shunned, just as logic considers sophistical reasoning.
In Opus Majus (1267).
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This single Stick, which you now behold ingloriously lying in that neglected Corner, I once knew in a flourishing State in a Forest: It was full of Sap, full of Leaves, and full of Boughs: But now, in vain does the busy Art of Man pretend to vie with Nature, by tying that withered Bundle of Twigs to its sapless Trunk: It is at best but the Reverse of what it was; a Tree turned upside down, the Branches on the Earth, and the Root in the Air.
'A Meditation Upon a Broom-stick: According to The Style and Manner of the Honorable Robert Boyle's Meditations' (1703), collected in 'Thoughts On Various Subjects', The Works of Jonathan Swift (1746), Vol. 1, 55-56.
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Those who are fruitful in useful inventions and discoveries, in the practical mechanical arts, are men, not only of the greatest utility, but possess an understanding, which should be most highly estimated.
From 'Artist and Mechanic', The artist & Tradesman’s Guide: embracing some leading facts & principles of science, and a variety of matter adapted to the wants of the artist, mechanic, manufacturer, and mercantile community (1827), 143.
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Those who intend to practise Midwifery, ought first of all to make themselves masters of anatomy, and acquire a competent knowledge in surgery and physic; because of their connections with the obstetric art, if not always, at least in many cases. He ought to take the best opportunities he can find of being well instructed; and of practising under a master, before he attempts to deliver by himself. ... He should also embrace every occasion of being present at real labours, ... he will assist the poor as well as the rich, behaving always with charity and compassion.
In A Treatise on the Theory and Practice of Midwifery (1766), 440-441.
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Thou, nature, art my goddess; to thy laws my services are bound...
His second motto (from King Lear by Shakespeare).
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Though genius isn't something that can be produced arbitrarily, it is freely willed—like wit, love, and faith, which one day will have to become arts and sciences. You should demand genius from everyone, but not expect it. A Kantian would call this the categorical imperative of genius.
Critical Fragment 16 in Friedrich Schlegel's Lucinde and the Fragments (1971), 144.
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Though thou art far away, thy rays are on Earth;
Though thou art in their faces, no one knows thy going.
Akhenaten
…...
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Through art and science in their broadest senses it is possible to make a permanent contribution towards the improvement and enrichment of human life and it is these pursuits that we students are engaged in.
From Nobel Banquet Speech (10 Dec 1980).
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Throw out opium, which the Creator himself seems to prescribe, for we often see the scarlet poppy growing in the cornfields, as if it were foreseen that wherever there is hunger to be fed there must also be a pain to be soothed; throw out a few specifics which our art did not discover, and it is hardly needed to apply; throw out wine, which is a food, and the vapors which produce the miracle of anaesthesia, and I firmly believe that if the whole materia medica [medical drugs], as now used, could be sunk to the bottom of the sea, it would be all the better for mankind,—and all the worse for the fishes.
'Currents and Counter-Currents in Medical Science', Address to Massachusetts Medical Society (30 May 1860). In Medical Essays 1842-1882 (1891), 202-3.
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Thus God himself was too kind to remain idle, and began to play the game of signatures, signing his likeness into the world; therefore I chance to think that all nature and the graceful sky are symbolized in the art of geometry.
In Tertius Interveniens (1610), as quoted in Freeman Dyson, 'Mathematics in the Physical Sciences', Scientific American (Sep 1964), 211, No. 3, 129.
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Time out of mind—or, rather, ever since Nicolas Le Fèvre … pointed out that chemistry was the art of separations as well as of transmutations—it has been recognized that, with every increase of temperature, or dissociating power, bodies were separated from each other.
In The Chemistry of the Sun (1887), x.
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Tis not always in a physician’s power to cure the sick; at times the disease is stronger than trained art.
Ovid and Arthur Leslie Wheeler (trans.), Ovid Tristia Ex Ponto (2007), 281.
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To a person uninstructed in natural history, his country or sea-side stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall. Teach him something of natural history, and you place in his hands a catalogue of those which are worth turning around. Surely our innocent pleasures are not so abundant in this life, that we can afford to despise this or any other source of them.
On the Educational Value of the Natural History Sciences' (1854). In Collected Essays (1893). Vol. 3, 63.
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To appreciate a work of art we need bring with us nothing but a sense of form and colour and a knowledge of three-dimensional space.
In Art (1913), 27.
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To appreciate a work of art we need bring with us nothing from life, no knowledge of its ideas and affairs, no familiarity with its emotions. Art transports us from the world of man’s activity to a world of æsthetic exaltation. For a moment we are shut off from human interests; our anticipations and memories are arrested; we are lifted above the stream of life. The pure mathematician rapt in his studies knows a state of mind which I take to be similar, if not identical. He feels an emotion for his speculations which arises from no perceived relation between them and the lives of men, but springs, inhuman or super-human, from the heart of an abstract science. I wonder, sometimes, whether the appreciators of art and of mathematical solutions are not even more closely allied.
In Art (1913), 25.
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To array a man's will against his sickness is the supreme art of medicine.
In Thomas Wallace Knox, Life and Work of Henry Ward Beecher: An Authentic, Impartial and Complete (1887), 274.
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To be worthy of the name, an experimenter must be at once theorist and practitioner. While he must completely master the art of establishing experimental facts, which are the materials of science, he must also clearly understand the scientific principles which guide his reasoning through the varied experimental study of natural phenomena. We cannot separate these two things: head and hand. An able hand, without a head to direct it, is a blind tool; the head is powerless without its executive hand.
In Claude Bernard and Henry Copley Greene (trans.), An Introduction to the Study of Experimental Medicine (1927, 1957), 3.
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To choose art means to turn one's back on the world, or at least on certain of its distractions.
In Christian Science Monitor (10 Apr 1985). Cited in Michael C. Thomsett and Linda Rose Thomsett, A Speaker's Treasury of Quotations: Maxims, Witticisms and Quips for Speeches and Presentations (2009), 13.
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To know how to grow old is the master-work of wisdom, and one of the most difficult chapters in the great art of living.
Amiel's Journal The Journal Intime of Henri-Frederic Amiel, (21 Sep 1874), trans. By Mrs Humphry Ward (1889),177.
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To learn the language of art, copy for ever is my rule.
Marginal note (c. 1808) written on table of contents page in his copy of The Works of Sir Joshua Reynolds (1798), beside “Much copying discountenanced”. As given in William Blake, Edwin John Ellis (ed.) and William Butler Yeats (ed.), The Works of William Blake (1893), Vol. 2, 319.
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To the manufacturer, chemistry has lately become fruitful of instruction and assistance. In the arts of brewing, tanning, dying, and bleaching, its doctrines are important guides. In making soap, glass, pottery, and all metallic wares, its principles are daily applied, and are capable of a still more useful application, as they become better understood.
From 'Artist and Mechanic', The artist & Tradesman’s Guide: embracing some leading facts & principles of science, and a variety of matter adapted to the wants of the artist, mechanic, manufacturer, and mercantile community (1827), 9.
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To this I may add another form of temptation, manifold in its dangers … There exists in the soul … a cupidity which does not take delight in the carnal pleasure but in perceptions acquired through the flesh. It is a vain inquisitiveness dignified with the title of knowledge and science. As this is rooted in the appetite for knowing, and as among the senses the eyes play a leading role in acquiring knowledge, the divine word calls it “the lust of the eyes” (I John, 2: 16) … To satisfy this diseased craving … people study the operations of nature, which lie beyond our grasp when there is no advantage in knowing and the investigators simply desire knowledge for its own sake. This motive is again at work if, using a perverted science for the same end, people try to achieve things by magical arts.
From Confessions (c.397), Book X, Chap. 35 (54-55), as given in Henry Chadwick, Confessions: A New Translation by Henry Chadwick (1991), 210-212.
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To what purpose should People become fond of the Mathematicks and Natural Philosophy? … People very readily call Useless what they do not understand. It is a sort of Revenge… One would think at first that if the Mathematicks were to be confin’d to what is useful in them, they ought only to be improv'd in those things which have an immediate and sensible Affinity with Arts, and the rest ought to be neglected as a Vain Theory. But this would be a very wrong Notion. As for Instance, the Art of Navigation hath a necessary Connection with Astronomy, and Astronomy can never be too much improv'd for the Benefit of Navigation. Astronomy cannot be without Optics by reason of Perspective Glasses: and both, as all parts of the Mathematicks are grounded upon Geometry … .
Of the Usefulness of Mathematical Learning (1699)
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Today we are on the eve of launching a new industry, based on imagination, on scientific research and accomplishment. … Now we add radio sight to sound. It is with a feeling of humbleness that I come to this moment of announcing the birth in this country of a new art so important in its implications that it is bound to affect all society. It is an art which shines like a torch of hope in the troubled world. It is a creative force which we must learn to utilize for the benefit of all mankind. This miracle of engineering skill which one day will bring the world to the home also brings a new American industry to serve man’s material welfare … [Television] will become an important factor in American economic life.
Address at dedication of RCA Exhibit Building, New York World Fair before unveiling the RCA television exhibit (20 Apr 1939). In RCA Review: A Technical Journal (1938), Vols 3-4, 4. As quoted in Marcy Carsey and Tom Werner, 'Father of Broadcasting: David Sarnoff (Time 100)', Time (7 Dec 1998), 152, No. 23, 88; and in Eugene Lyons, David Sarnoff: A Biography (1966), 216.
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Toil of science swells the wealth of art.
In collection compiled by Charles Noel Douglas, Forty Thousand Quotations, Prose and Poetical (1917),
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Travel by canoe is not a necessity, and will nevermore be the most efficient way to get from one region to another, or even from one lake to another anywhere. A canoe trip has become simply a rite of oneness with certain terrain, a diversion off the field, an art performed not because it is a necessity but because there is value in the art itself.
…...
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True literacy is becoming an arcane art and the nation [United States] is steadily dumbing down.
In I. Asimov: a Memoir (1994), 46.
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True science investigates and brings to human perception such truths and such knowledge as the people of a given time and society consider most important. Art transmits these truths from the region of perception to the region of emotion.
…...
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Truth travels down from the heights of philosophy to the humblest walks of life, and up from the simplest perceptions of an awakened intellect to the discoveries which almost change the face of the world. At every stage of its progress it is genial, luminous, creative. When first struck out by some distinguished and fortunate genius, it may address itself only to a few minds of kindred power. It exists then only in the highest forms of science; it corrects former systems, and authorizes new generalizations. Discussion, controversy begins; more truth is elicited, more errors exploded, more doubts cleared up, more phenomena drawn into the circle, unexpected connexions of kindred sciences are traced, and in each step of the progress, the number rapidly grows of those who are prepared to comprehend and carry on some branches of the investigation,— till, in the lapse of time, every order of intellect has been kindled, from that of the sublime discoverer to the practical machinist; and every department of knowledge been enlarged, from the most abstruse and transcendental theory to the daily arts of life.
In An Address Delivered Before the Literary Societies of Amherst College (25 Aug 1835), 16-17.
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Under the flag of science, art, and persecuted freedom of thought, Russia would one day be ruled by toads and crocodiles the like of which were unknown even in Spain at the time of the Inquisition.
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Under the flag of science, art, and persecuted freedom of thought, Russia would one day be ruled by toads and crocodiles the like of which were unknown even in Spain at the time of the Inquisition.
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Understanding … must begin by saturating itself with facts and realities. … Besides, we only understand that which is already within us. To understand is to possess the thing understood, first by sympathy and then by intelligence. Instead of first dismembering and dissecting the object to be conceived, we should begin by laying hold of it in its ensemble. The procedure is the same, whether we study a watch or a plant, a work of art or a character.
(7 Apr 1886). In Mary A. Ward (trans.), Amiel’s Journal: The Journal Intime of Henri-Frédéric Amiel (1889), 119.
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Unless you make yourself equal to God, you cannot understand God: for the like is not intelligible save to the like. Make yourself grow to a greatness beyond measure, by a bound free yourself from the body; raise yourself above all time, become Eternity; then you will understand God. Believe that nothing is impossible for you, think yourself immortal and capable of understanding all, all arts, all sciences, the nature of every living being. Mount higher than the highest height; descend lower than the lowest depth. Draw into yourself all sensations of everything created, fire and water, dry and moist, imagining that you are everywhere, on earth, in the sea, in the sky, that you are not yet born, in the maternal womb, adolescent, old, dead, beyond death. If you embrace in your thought all things at once, times, places, substances, qualities, quantities, you may understand God.
Quoted in F. A. Yales, Giordano Bruno and the Hermetic Tradition (1964), 198.
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Upon the whole, Chymistry is as yet but an opening science, closely connected with the usefull and ornamental arts, and worthy the attention of the liberal mind. And it must always become more and more so: for though it is only of late, that it has been looked upon in that light, the great progress already made in Chymical knowledge, gives us a pleasant prospect of rich additions to it. The Science is now studied on solid and rational grounds. While our knowledge is imperfect, it is apt to run into error: but Experiment is the thread that will lead us out of the labyrinth.
In Alexander Law, Notes of Black's Lectures, vol. 3, 88. Cited in Charles Coulston Gillispie, Dictionary of Scientific Biography: Volumes 1-2 (1981), 181.
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Very little comes easily to our poor, benighted species (the first creature, after all, to experiment with the novel evolutionary inventions of self-conscious philosophy and art). Even the most ‘obvious,’ ‘accurate,’ and ‘natural’ style of thinking or drawing must be regulated by history and won by struggle. Solutions must therefore arise within a social context and record the complex interactions of mind and environment that define the possibility of human improvement.
…...
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Vision, in my view, is the cause of the greatest benefit to us, inasmuch as none of the accounts now given concerning the Universe would ever have been given if men had not seen the stars or the sun or the heavens. But as it is, the vision of day and night and of months and circling years has created the art of number and has given us not only the notion of Time but also means of research into the nature of the Universe. From these we have procured Philosophy in all its range, than which no greater boon ever has come or will come, by divine bestowal, unto the race of mortals.
Plato
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We all agree now - by “we” I mean intelligent people under sixty - that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves.
In Since Cezanne (1922), 40.
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We come therefore now to that knowledge whereunto the ancient oracle directeth us, which is the knowledge of ourselves; which deserveth the more accurate handling, by how much it toucheth us more nearly. This knowledge, as it is the end and term of natural philosophy in the intention of man, so notwithstanding it is but a portion of natural philosophy in the continent of nature. And generally let this be a rule, that all partitions of knowledges be accepted rather for lines and veins, than for sections and separations; and that the continuance and entireness of knowledge be preserved. For the contrary hereof hath made particular sciences to become barren, shallow, and erroneous; while they have not been nourished and maintained from the common fountain. So we see Cicero the orator complained of Socrates and his school, that he was the first that separated philosophy and rhetoric; whereupon rhetoric became an empty and verbal art. So we may see that the opinion of Copernicus touching the rotation of the earth, which astronomy itself cannot correct because it is not repugnant to any of the phenomena, yet natural philosophy may correct. So we see also that the science of medicine, if it be destituted and forsaken by natural philosophy, it is not much better than an empirical practice. With this reservation therefore we proceed to Human Philosophy or Humanity, which hath two parts: the one considereth man segregate, or distributively; the other congregate, or in society. So as Human Philosophy is either Simple and Particular, or Conjugate and Civil. Humanity Particular consisteth of the same parts whereof man consisteth; that is, of knowledges that respect the Body, and of knowledges that respect the Mind. But before we distribute so far, it is good to constitute. For I do take the consideration in general and at large of Human Nature to be fit to be emancipate and made a knowledge by itself; not so much in regard of those delightful and elegant discourses which have been made of the dignity of man, of his miseries, of his state and life, and the like adjuncts of his common and undivided nature; but chiefly in regard of the knowledge concerning the sympathies and concordances between the mind and body, which, being mixed, cannot be properly assigned to the sciences of either.
The Advancement of Learning (1605) in James Spedding, Robert Ellis and Douglas Heath (eds.), The Works of Francis Bacon (1887-1901), Vol. 3, 366-7.
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We have no other means of recognising a work of art than our feeling for it.
In Art (1913), 8-9.
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We may lay it down as an incontestible axiom, that, in all the operations of art and nature, nothing is created; an equal quantity of matter exists both before and after the experiment; the quality and quantity of the elements remain precisely the same; and nothing takes place beyond changes and modifications in the combination of these elements. Upon this principle the whole art of performing chemical experiments depends: We must always suppose an exact equality between the elements of the body examined and those of the products of its analysis.
Elements of Chemistry trans. Robert. Kerr, (1790, 5th Ed. 1802), Vol. 1, 226.
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We may safely say, that the whole form of modern mathematical thinking was created by Euler. It is only with the greatest difficulty that one is able to follow the writings of any author immediately preceding Euler, because it was not yet known how to let the formulas speak for themselves. This art Euler was the first one to teach.
As quoted in W. Ahrens Scherz und Ernst in der Mathematik (1904), 251. As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 183.
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We must examine the moral alchemy through which the in-group readily transmutes virtue into vice and vice into virtue, as the occasion may demand. … We begin with the engagingly simple formula of moral alchemy: the same behavior must be differently evaluated according to the person who exhibits it. For example, the proficient alchemist will at once know that the word “firm” is properly declined as follows:
I am firm,
Thou art obstinate,
He is pig-headed.
There are some, unversed in the skills of this science, who will tell you that one and the same term should be applied to all three instances of identical behavior.
In article, 'The Self-Fulfilling Prophecy', The Antioch Review (Summer 1948), 8, No. 2, 195-196. Included as Chap. 7 of Social Theory and Social Structure (1949), 201.
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We need to teach the highly educated man that it is not a disgrace to fail and that he must analyze every failure to find its cause. He must learn how to fail intelligently, for failing is one of the greatest arts in the world.
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We often observe in lawyers, who as Quicquid agunt homines is the matter of law suits, are sometimes obliged to pick up a temporary knowledge of an art or science, of which they understood nothing till their brief was delivered, and appear to be much masters of it.
In The Life of Samuel Johnson (1820), Vol. 1, 218. The Latin phrase translates as “what people do.”
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We profess to teach the principles and practice of medicine, or, in other words, the science and art of medicine. Science is knowledge reduced to principles; art is knowledge reduced to practice. The knowing and doing, however, are distinct. ... Your knowledge, therefore, is useless unless you cultivate the art of healing. Unfortunately, the scientific man very often has the least amount of art, and he is totally unsuccessful in practice; and, on the other hand, there may be much art based on an infinitesimal amount of knowledge, and yet it is sufficient to make its cultivator eminent.
From H.G. Sutton, Abstract of Lecture delivered at Guy's Hospital by Samuel Wilks, 'Introductory to Part of a Course on the Theory and Practice of Medicine', The Lancet (24 Mar 1866), 1, 308
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We quote not only books and proverbs, but arts, sciences, religion, customs and laws; nay, we quote temples and houses, tables and chairs by imitation.
In Lecture, second in a series given at Freeman Place Chapel, Boston (Mar 1859), 'Quotation and Originality', Letters and Social Aims (1875, 1917), 178-179.
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We sleep, and at length awake to the still reality of a winter morning. The snow lies warm as cotton or down upon the window-sill; the broadened sash and frosted panes admit a dim and private light, which enhances the snug cheer within. The stillness of the morning is impressive... From the eaves and fences hang stalactites of snow, and in the yard stand stalagmites covering some concealed core. The trees and shrubs rear white arms to the sky on every side; and where were walls and fences we see fantastic forms stretching in the frolic gambols across the dusky landscape, as if nature had strewn her fresh designs over the fields by night as models for man’s art.
…...
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Were I asked to define it, I should reply that archæology is that science which enables us to register and classify our knowledge of the sum of man’s achievement in those arts and handicrafts whereby he has, in time past, signalized his passage from barbarism to civilization.
In Pharaohs, Fellahs and Explorers (1891), 24.
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What Art was to the ancient world, Science is to the modern: the distinctive faculty. In the minds of men the useful has succeeded to the beautiful. … There are great truths to tell, if we had either the courage to announce them or the temper to receive them.
In Coningsby: or the New Generation (1844), Vol. 2, Book 4, Chap. 1, 2.
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What Art was to the ancient world, Science is to the modern: the distinctive faculty. In the minds of men the useful has succeeded to the beautiful. Instead of the city of the Violet Crown, a Lancashire village has expanded into a mighty region of factories and warehouses. Yet, rightly understood, Manchester is as great a human exploit; as Athens.
In Coningsby: Or The New Generation (1844), Vol. 2, Book 4, Ch.1, 2.
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What cannot art and industry perform,
When science plans the progress of their toil!
The Minstrel, or the Progress of Genius (1819), 68.
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What I then got hold of, something frightful and dangerous, a problem with horns but not necessarily a bull, in any case a new problem—today I should say that it was the problem of science itself, science considered for the first time as problematic, as questionable. But the book in which my youthful courage and suspicion found an outlet—what an impossible book had to result from a task so uncongenial to youth! Constructed from a lot of immature, overgreen personal experiences, all of them close to the limits of communication, presented in the context of art—for the problem of science cannot be recognized in the context of science—a book perhaps for artists who also have an analytic and retrospective penchant (in other words, an exceptional type of artist for whom one might have to look far and wide and really would not care to look) …
In The Birth of Tragedy (1872). Collected in Friedrich Nietzsche and Walter Kaufmann (trans.), The Birth of Tragedy and The Case of Wagner (1967), 18.
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What is art
But life upon the larger scale, the higher,
When, graduating up in a spiral line
Of still expanding and ascending gyres,
It pushed toward the intense significance
Of all things, hungry for the Infinite?
From poem, 'Aurora Leigh' (1856), Book 4. In Elizabeth Barrett Browning and Harriet Waters Preston (ed.), The Complete Poetical Works of Mrs. Browning (1900), 323.
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What is truth? In matters of religion it is simply the opinion that has survived. In matters of science it is the ultimate sensation. In matters of art it is one’s last mood.
In 'The Critic As Artist', Oscariana: Epigrams (1895), 8. Also in Sebastian Melmoth (1908), 42.
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What makes philosophy so tedious is not the profundity of philosophers, but their lack of art; they are like physicians who sought to cure a slight hyperacidity by prescribing a carload of burned oyster-shells.
In A Mencken Chrestomathy (1949, 1956), 617.
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What makes the theory of relativity so acceptable to physicists in spite of its going against the principle of simplicity is its great mathematical beauty. This is a quality which cannot be defined, any more than beauty in art can be defined, but which people who study mathematics usually have no difficulty in appreciating. … The restricted theory changed our ideas of space and time in a way that may be summarised by stating that the group of transformations to which the space-time continuum is subject must be changed from the Galilean group to the Lorentz group.
From Lecture delivered on presentation of the James Scott prize, (6 Feb 1939), 'The Relation Between Mathematics And Physics', printed in Proceedings of the Royal Society of Edinburgh (1938-1939), 59, Part 2, 123.
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What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible—significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colours, these æsthetically moving forms, I call “Significant Form”; and “Significant Form” is the one quality common to all works of visual art.
In Art (1913), 8.
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What renders a problem definite, and what leaves it indefinite, may best be understood from mathematics. The very important idea of solving a problem within limits of error is an element of rational culture, coming from the same source. The art of totalizing fluctuations by curves is capable of being carried, in conception, far beyond the mathematical domain, where it is first learnt. The distinction between laws and co-efficients applies in every department of causation. The theory of Probable Evidence is the mathematical contribution to Logic, and is of paramount importance.
In Education as a Science (1879), 151-152.
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What would life be without art? Science prolongs life. To consist of what—eating, drinking, and sleeping? What is the good of living longer if it is only a matter of satisfying the requirements that sustain life? All this is nothing without the charm of art.
The Art of the Theatre (1924), 177.
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Whatever is Natural doth by that appear, adorned with all imaginable Elegance and Beauty. There are such inimitable gildings and embroideries in the smallest seeds of Plants, but especially in the parts of Animals, in the head or eye of a small Fly: such accurate order and symmetry in the frame of the most minute creatures, a Lowse or a Mite, as no man were able to conceive without seeing of them. Whereas the most curious works of Art, the sharpest finest Needle, doth appear as a blunt rough bar of iron, coming from the furnace or the forge. The most accurate engravings or embossments, seem such rude bungling deformed works, as if they had been done with a Mattock or a Trowel.
In Of the Principles and Duties of Natural Religion (1675, 1699), 80.
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Whatsoever therefore is consequent to a time of Warre, where every man is Enemy to every man; the same is consequent to the time, wherein men live without other security, than what their own strength, and their own invention shall furnish them withall. In such condition, there is no place for Industry; because the fruit thereof is uncertain: and consequently no Culture of the Earth; no Navigation, nor use of the commodities that may be imported by Sea; no commodious Building; no Instruments of moving, and removing, such things as require much force; no Knowledge of the face of the Earth; no account of Time; no Arts; no Letters; no Society; and which is worst of all, continual fear, and danger of violent death; And the life of man, solitary, poore, nasty, brutish, and short.
Leviathan (1651), ed. C. B. Macpherson (1968), Part 1, Chapter 13, 186.
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When I consider Thy heavens, the work of Thy fingers, the moon and the stars, which Thou hast ordained; What is man, that Thou art mindful of him? and the son of man, that Thou visitest him?
Bible
Psalms VIII, verses 3-4, in The Book of Psalms: Containing the Prayer Book Version, The Authorized Version and The Revised Version: in Parallel Columns (1899), 8, Authorized Version column.
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When I consider Thy heavens, the work of thy fingers, the moon and the stars, which thou hast ordained; What is man, that Thou art mindful of him? and the son of man, that thou visitest him?
Bible
Psalm VIII, 3-4. In George D'Oyly and Richard Mant (eds.), The Holy Bible According to the Authorized Version (1839).
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When I was young Science walked hand-in-hand with Art; now she walks arm-in-arm with Trade.
Clifford Dobell, 'D' Arcy Wentworth Thompson 1860-1948', Obituary Notices of Fellows of the Royal Society 1948-1949 (1949), 613.
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When science, art, literature, and philosophy are simply the manifestation of personality, they are on a level where glorious and dazzling achievements are possible, which can make a man’s name live for thousands of years. But above this level, far above, separated by an abyss, is the level where the highest things are achieved. These things are essentially anonymous.
In Simone Weil and Siân Miles (ed.), 'Human Personality', Simone Weil: An Anthology (2000), 55.
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When the solution is simple, God is answering. Where the world ceases to be the scene of our personal hopes and wishes, where we face it as free beings admiring, asking and observing, there we enter the realm of Art and Science.
…...
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When the world is mad, a mathematician may find in mathematics an incomparable anodyne. For mathematics is, of all the arts and sciences, the most austere and the most remote, and a mathematician should be of all men the one who can most easily take refuge where, as Bertrand Russell says, “one at least of our nobler impulses can best escape from the dreary exile of the actual world.”
In A Mathematician's Apology (1940, 2012), 43.
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When there’s anything to steal, I steal.
As quoted in Françoise Gilot and Carlton Lake, Life with Picasso (1964), 285. Gilot was a close companion of Picasso.
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When we have to do with an art whose end is the saving of human life, any neglect to make ourselves thorough masters of it becomes a crime.
Quoted without citation in United States Medical Investigator (1885), 21, 521. Seen in various other later publications, but also without citation. If you know the primary source, please contact Webmaster.
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Where the world ceases to be the scene of our personal hopes and wishes, where we face it as free beings admiring, asking and observing, there we enter the realm of Art and Science. If what is seen is seen and experienced is portrayed in the language of logic, we are engaged in science. If it is communicated through forms whose connections are not accessible to the conscious mind but are recognized intuitively as meaningful, then we are engaged in art.
'What Artistic and Scientific Experience Have in Common', Menschen (27 Jan 1921). In Albert Einstein, Helen Dukas, Banesh Hoffmann, Albert Einstein, The Human Side (1981), 37-38. The article was published in a German magazine on modern art, upon a request from the editor, Walter Hasenclever, for a few paragraphs on the idea that there was a close connection between the artistic developments and the scientific results belonging to a given epoch. (The magazine name, and editor's name are given by Ze'ev Rosenkranz, The Einstein Scrapbook (2002), 27.
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Where we reach the sphere of mathematics we are among processes which seem to some the most inhuman of all human activities and the most remote from poetry. Yet it is just here that the artist has the fullest scope for his imagination. … We are in the imaginative sphere of art, and the mathematician is engaged in a work of creation which resembles music in its orderliness, … It is not surprising that the greatest mathematicians have again and again appealed to the arts in order to find some analogy to their own work. They have indeed found it in the most varied arts, in poetry, in painting, and in sculpture, although it would certainly seem that it is in music, the most abstract of all the arts, the art of number and time, that we find the closest analogy.
In The Dance of Life (1923), 138-139.
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Whereas history, literature, art, and even religion, all have national characters and local attachments, science alone of man’s major intellectual interests has no frontiers and no national varieties; that science, like peace, is one and indivisible.
From Pilgrim Trust Lecture (22 Oct 1946) delivered at National Academy of Science Washington, DC. Published in 'The Freedom of Science', Proceedings of the American Philosophical Society (25 Feb 1947), 91, No. 1, 72.
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Whereas there is nothing more necessary for promoting the improvement of Philosophical Matters, than the communicating to such, as apply their Studies and Endeavours that way, such things as are discovered or put in practice by others; it is therefore thought fit to employ the Press, as the most proper way to gratifie those, whose engagement in such Studies, and delight in the advancement of Learning and profitable Discoveries, doth entitle them to the knowledge of what this Kingdom, or other parts of the World, do, from time to time, afford as well of the progress of the Studies, Labours, and attempts of the Curious and learned in things of this kind, as of their compleat Discoveries and performances: To the end, that such Productions being clearly and truly communicated, desires after solid and usefull knowledge may be further entertained, ingenious Endeavours and Undertakings cherished, and those, addicted to and conversant in such matters, may be invited and encouraged to search, try, and find out new things, impart their knowledge to one another, and contribute what they can to the Grand design of improving Natural knowledge, and perfecting all Philosophical Arts, and Sciences. All for the Glory of God, the Honour and Advantage of these Kingdoms, and the Universal Good of Mankind.
'Introduction', Philosophical Transactions (1665), 1, 1-2.
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Whether statistics be an art or a science... or a scientific art, we concern ourselves little. It is the basis of social and political dynamics, and affords the only secure ground on which the truth or falsehood of the theories and hypotheses of that complicated science can be brought to the test.
Letters on the Theory of Probabilities (1846), trans. O. G. Downes (1849).
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While government and laws provide for the safety and well-being of assembled men, the sciences, letters and arts, less despotic and perhaps more powerful, spread garlands of flowers over the iron chains with which men are burdened, stifle in them the sense of that original liberty for which they seemed to have been born, make them love their slavery, and turn them into what is called civilized peoples.
In Discourse on the Sciences and Arts (1750).
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Who has studied the works of such men as Euler, Lagrange, Cauchy, Riemann, Sophus Lie, and Weierstrass, can doubt that a great mathematician is a great artist? The faculties possessed by such men, varying greatly in kind and degree with the individual, are analogous with those requisite for constructive art. Not every mathematician possesses in a specially high degree that critical faculty which finds its employment in the perfection of form, in conformity with the ideal of logical completeness; but every great mathematician possesses the rarer faculty of constructive imagination.
In Presidential Address British Association for the Advancement of Science, Sheffield, Section A, Nature (1 Sep 1910), 84, 290.
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Why may we not say, that all Automata (Engines that move themselves by springs and wheeles as doth a watch) have an artificiall life? For what is the Heart, but a Spring; and the Nerves, but so many Strings; and the Joynts, but so many Wheeles, giving motion to the whole Body, such as was intended by the Artificer? Art goes yet further, imitating the rationall and most excellent worke of Nature, Man. For by Art is created the great LEVIATHAN called a COMMON-WEALTH, or STATE, (in latine CIVITAS) which is but an Artificiall Man; though of greater stature and strength than the Naturall, for whose protection and defence it was intended; and in which, the Soveraignty is an Artificiall Soul, as giving life and motion to the whole body.
Leviathan (1651), ed. C. B. Macpherson (1968), Part I, Introduction, 81.
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Without art, science would be as useless as a pair of high forceps in the hands of a plumber. Without science, art would become a crude mess of folklore and emotional quackery.
In 'Great Thought' (19 Feb 1938), The Notebooks of Raymond Chandler and English Summer: A Gothic Romance, (1976), 7.
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Without the cultivation of the earth, [man] is, in all countries, a savage. Until he gives up the chase, and fixes himself in some place and seeks a living from the earth, he is a roaming barbarian. When tillage begins, other arts follow. The farmers, therefore, are the founders of human civilization.
Address to the Legislature of Massachussetts, Boston, On the Agriculture of England (13 Jan 1840). Collected in The Works of Daniel Webster (1851), Vol. 1, 457.
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Women have absolutely no sense of art, though they may have of poetry. They have no natural disposition for the sciences, though they may have for philosophy. They are by no means wanting in power of speculation and intuitive perception of the infinite; they lack only power of abstraction, which is far more easy to be learned.
From Selected Aphorisms from the Lyceum (1797-1800). As translated by Luis H. Gray in Kuno Francke and Isidore Singer (eds.), The German Classics: Masterpieces of German Literature Translated Into English (1913), Vol. 4, 177.
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You may perceive something of the distinction which I think necessary to keep in view between art and science, between the artist and the man of knowledge, or the philosopher. The man of knowledge, the philosopher, is he who studies and acquires knowledge in order to improve his own mind; and with a desire of extending the department of knowledge to which he turns his attention, or to render it useful to the world, by discoveries, or by inventions, which may be the foundation of new arts, or of improvements in those already established. Excited by one or more of these motives, the philosopher employs himself in acquiring knowledge and in communicating it. The artist only executes and practises what the philosopher or man of invention has discovered or contrived, while the business of the trader is to retail the productions of the artist, exchange some of them for others, and transport them to distant places for that purpose.
From the first of a series of lectures on chemistry, collected in John Robison (ed.), Lectures on the Elements of Chemistry: Delivered in the University of Edinburgh (1807), Vol. 1, 3.
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You may take the noblest poetry in the world, and, if you stumble through it at snail's pace, it collapses from a work of art into a rubbish heap.
In 'The Place of Classics in Education', The Aims of Education and Other Essays (1929), 76.
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You tell me of an invisible planetary system in which electrons gravitate around a nucleus. You explain this world to me with an image. I realize that you have been reduced to poetry. … So that science that was to teach me everything ends up in a hypothesis, that lucidity founders in metaphor, that uncertainty is resolved in a work of art.
In Albert Camus and Justin O’Brien (trans.), 'An Absurd Reasoning', The Myth of Sisyphus and Other Essays (1955), 15.
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Your true inventor has a yen to invent, just as a painter or musician is impelled to create something in his art. I began wanting to invent when I was in short pants. At the age of eight—and that was forty years ago—I invented a rock-thrower. Later I found that the Romans had done a much better job some two thousand years before me.
Anonymous
Attributed to an unnamed “holder of many patents,” as quoted by Stacy V. Jones, in You Ought to Patent That (1962), 21.
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Carl Sagan Thumbnail In science it often happens that scientists say, 'You know that's a really good argument; my position is mistaken,' and then they would actually change their minds and you never hear that old view from them again. They really do it. It doesn't happen as often as it should, because scientists are human and change is sometimes painful. But it happens every day. I cannot recall the last time something like that happened in politics or religion. (1987) -- Carl Sagan
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