A Quote by Max Born

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.
Statistics is the most important science in the whole world: for upon it depends the practical application of every other science and of every art: the one science essential to all political and social administration, all education, all organization based on experience, for it only gives results of our experience.
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.
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.
The year that Rutherford died (1938 [sic]) there disappeared forever the happy days of free scientific work which gave us such delight in our youth. Science has lost her freedom. Science has become a productive force. She has become rich but she has become enslaved and part of her is veiled in secrecy. I do not know whether Rutherford would continue to joke and laugh as he used to.
We live in a scientific age, yet we assume that knowledge of science is the prerogative of only a small number of human beings, isolated and priestlike in their laboratories. This is not true. The materials of science are the materials of life itself. Science is part of the reality of living; it is the way, the how and the why for everything in our experience.
[In] the realm of science, ... what we have achieved will be obsolete in ten, twenty or fifty years. That is the fate, indeed, that is the very meaning of scientific work. ... Every scientific "fulfillment" raises new "questions" and cries out to be surpassed rendered obsolete. Everyone who wishes to serve science has to resign himself to this.
The art of science is as important as so-called technical science. You need both. It's this combination that must be recognized and acknowledged and valued.
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.
Science is not marginal. Like art, it is a universal possession of humanity, and scientific knowledge has become a vital part of our species' repertory. It comprises what we know of the material world with reasonable certainty. . . . Thanks to science and technology, access to factual information of all kinds is rising exponentially.
We have lost the art of living, and in the most important science of all, the science of daily life, the science of behavior, we are complete ignoramuses. We have psychology instead.
When physics, chemistry, biology, medicine, contribute to the detection of concrete human woes and to the development of plans for remedying them and relieving the human estate, they become moral; they become part of the apparatus of moral inquiry or science? When the consciousness of science is fully impregnated with the consciousness of human value, the greatest dualism which now weighs humanity down, the split between the material, the mechanical and the scientific and the moral and ideal will be destroyed.
I define science fiction as the art of the possible. Fantasy is the art of the impossible. Science fiction, again, is the history of ideas, and they're always ideas that work themselves out and become real and happen in the world. And fantasy comes along and says, 'We're going to break all the laws of physics.' ... Most people don't realize it, but the series of films which have made more money than any other series of films in the history of the universe is the James Bond series. They're all science fiction, too - romantic, adventurous, frivolous, fantastic science fiction!
It’s not rocket science. It’s social science – the science of understanding people’s needs and their unique relationship with art, literature, history, music, work, philosophy, community, technology and psychology. The act of design is structuring and creating that balance.
Photography was the medium preeminently qualified to unite art with science. Photography was born in the years which ushered in the scientific age, an offspring of both science and art.
Like a work of art, we exceed our materials. Science needs art to frame the mystery, but art needs science so that not everything is a mystery. Neither truth alone is our solution, for our reality exists in plural
Chairman Mao creatively applied Marxism-Leninism to every aspect of the Chinese revolution, and he had creative views on philosophy, political science, military science, literature and art, and so on. Unfortunately, in the evening of his life, particularly during the "Cultural Revolution", he made mistakes - and they were not minor ones - which brought many misfortunes upon our Party, our state and our people.
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