The physicist as novelist | Alan Lightman | TEDxWellesleyCollege
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0:25 - 0:27Hello, everybody.
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0:27 - 0:29Thank you for being here.
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0:30 - 0:34In childhood, I wrote dozens of poems,
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0:34 - 0:36and in my poetry,
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0:36 - 0:41I tried to express my feelings
about loneliness, -
0:41 - 0:43my questions about death,
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0:43 - 0:47my unrequited love
for 14-year-old girls. -
0:47 - 0:48(Laughter)
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0:49 - 0:51Reading, listening, even thinking,
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0:51 - 0:56I was mesmerized by the sounds
and the movements of words. -
0:56 - 0:59Words could be sudden, like "jolt,"
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0:59 - 1:02or words could be slow, like "meandering,"
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1:02 - 1:06words could be silvery,
prickly to the touch, -
1:06 - 1:10and by magic, words
could create scenes and emotions. -
1:11 - 1:17Between poems,
I did scientific experiments, -
1:17 - 1:20and these I conducted
in a little laboratory, -
1:20 - 1:25a homemade laboratory
that I built off my second-floor bedroom, -
1:25 - 1:26really, a large closet.
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1:26 - 1:31And there I hoarded resistors, capacitors,
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1:31 - 1:34wire of various lengths,
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1:34 - 1:38test tubes, beautiful pieces of glassware.
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1:38 - 1:41I loved my equipment;
I loved to build things. -
1:41 - 1:43By the age of 12,
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1:43 - 1:46I had built a remote-control device
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1:46 - 1:51that turned on the lights in any room
of the house from any other room. -
1:51 - 1:55When my scientific projects went awry,
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1:56 - 2:00I could find certain fulfillment
in mathematics. -
2:01 - 2:02In geometry,
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2:02 - 2:08I loved the inexorable relationships
between lines and angles. -
2:08 - 2:11And in algebra, I loved the abstraction -
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2:11 - 2:13I loved letting X's and Y's
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2:13 - 2:17stand for the number
of nickels and pennies in a jar -
2:17 - 2:21and then solving
a connected set of equations -
2:21 - 2:24one logical step after the other.
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2:24 - 2:28I loved that shining purity
of mathematics, -
2:28 - 2:29that precision.
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2:29 - 2:33I loved the certainty of mathematics.
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2:33 - 2:34In mathematics,
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2:34 - 2:37you were guaranteed an answer
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2:37 - 2:42as clean and as crisp
as a new 20-dollar bill, -
2:42 - 2:43and when you found that answer,
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2:43 - 2:47you knew that you were right,
unquestionably right - -
2:47 - 2:51the area of a circle
is pi r-squared, period. -
2:54 - 2:56Mathematics contrasted strongly
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2:56 - 3:01with the ambiguities
and the contradictions of people. -
3:01 - 3:03The world of people confused me;
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3:03 - 3:07the world of people
had no logic or certainty: -
3:07 - 3:14My Aunt Jean continued to drive recklessly
in her little MG sports car -
3:14 - 3:15even though everyone in the family
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3:15 - 3:19told her that she would kill herself
in that car one day. -
3:19 - 3:24We had a wonderful woman named Blanche,
who worked for our family for years. -
3:25 - 3:29Blanche had to leave her husband
after he abused her, -
3:29 - 3:34and then, for many years later,
spoke about him with affection. -
3:34 - 3:38So how does one reconcile
these different worlds, -
3:38 - 3:41these seeming contradictions?
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3:42 - 3:45Well, now having lived
in two communities, -
3:45 - 3:48the community of scientists
and the community of artists, -
3:48 - 3:50for many years -
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3:50 - 3:53I've worked both as a physicist
and as a novelist - -
3:54 - 3:58I have tentative answers
to some of these questions. -
3:58 - 4:03So I wanted to tell you this morning
a little bit about what I've learned -
4:03 - 4:08about the different ways that scientists
and artists approach the world - -
4:08 - 4:13their different versions of truth
and also some of the many similarities. -
4:15 - 4:19A big distinction that I have found
between physicists and novelists -
4:19 - 4:23or, I should say, more generally,
between scientists and artists -
4:23 - 4:28is in what I will call
"the naming of things." -
4:28 - 4:29Roughly speaking,
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4:30 - 4:33the scientist tries to name things
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4:33 - 4:36and the artist tries
to avoid naming things. -
4:37 - 4:38To name a thing,
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4:39 - 4:41you've gathered it, you've distilled it,
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4:41 - 4:42you've purified it,
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4:42 - 4:44you've put a box around the thing
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4:44 - 4:46and said what's in the box is the thing
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4:46 - 4:49and what's not in the box
is not the thing. -
4:49 - 4:53Consider, for example,
the word "electron," -
4:53 - 4:56which is a type of subatomic particle.
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4:57 - 4:58As far as we know,
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4:58 - 5:02all of the zillions of electrons
in the universe are identical; -
5:02 - 5:05there's only a single kind of electron.
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5:05 - 5:07And to a modern physicist,
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5:07 - 5:11the word electron
means a particular equation - -
5:11 - 5:14it's called the Dirac equation.
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5:14 - 5:19And that equation summarizes everything
that we know about electrons: -
5:19 - 5:25the precise energy of electrons in atoms
as they orbit the nucleus, -
5:25 - 5:29the deflections of electrons
in magnetic fields - -
5:29 - 5:33all of that can be predicted
to many decimal places -
5:33 - 5:37with great accuracy by the Dirac equation.
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5:37 - 5:41Every object in the physical universe
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5:41 - 5:45the scientist wants to be able to name
with this kind of precision. -
5:46 - 5:49For scientists,
it's a feeling of comfort, -
5:50 - 5:52a feeling of power,
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5:52 - 5:54and a sense of control
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5:54 - 5:58to be able to name things in this way.
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6:00 - 6:07The concepts that the artist
deals with cannot be named. -
6:07 - 6:11The novelist might use a word
like "love" or like "fear," -
6:11 - 6:15but those words don't really convey
that much to the reader. -
6:15 - 6:19For one thing, there are
a thousand different kinds of love: -
6:20 - 6:22there's the love
that you feel for a mother -
6:22 - 6:25who writes you every day
your first summer away from home -
6:25 - 6:27at summer camp;
-
6:27 - 6:31there is the love that you feel for a man
or a woman that you've just made love to; -
6:31 - 6:35there's the love
that you feel for a friend -
6:35 - 6:38who calls you right
after you've split up from your spouse; -
6:38 - 6:41and on and on.
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6:42 - 6:44But it's not just
the many different kinds of love -
6:44 - 6:49that prevent the novelist
from truly naming the thing, -
6:49 - 6:53it's that the particular situation
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6:53 - 6:56that creates the particular ache of love.
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6:56 - 7:01That particular situation
must be shown to the reader - -
7:01 - 7:05not named but shown
through the actions of characters. -
7:06 - 7:09And if love is shown rather than named,
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7:09 - 7:14then each reader will experience it
in her own individual way, -
7:14 - 7:19each reader will draw on her own
adventures and misadventures with love. -
7:19 - 7:25Every electron is identical,
but every love is different. -
7:26 - 7:30The novelist doesn't want to try
to eliminate these differences, -
7:30 - 7:33doesn't want to try to distill
the meaning of love -
7:33 - 7:37so that there is only a single meaning,
as in the Dirac equation, -
7:37 - 7:41because such a distillation is impossible
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7:41 - 7:45and even an attempt at such a distillation
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7:45 - 7:51would destroy that magical, delicate,
participatory creative act -
7:51 - 7:55that happens when a good reader
reads a good book. -
7:55 - 8:01In a sense a novel is not completed
until it is read by a reader -
8:01 - 8:05and every reader completes the novel
in a different way. -
8:06 - 8:13Well, there's another phenomena
that's closely related to naming, -
8:13 - 8:18and that is framing problems
in terms of questions with answers. -
8:19 - 8:24We scientists work by breaking the world
down into smaller and smaller pieces -
8:24 - 8:30until we have what we call
well-posed problems -
8:31 - 8:34that have clear and definite answers.
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8:34 - 8:38It might take five years, it might take
a hundred years to find the answer, -
8:38 - 8:40but at any given moment of time,
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8:40 - 8:43each scientist is working on something
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8:43 - 8:46that he or she feels
has a definite answer; -
8:46 - 8:50for example, one such question might be:
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8:51 - 8:54Where in a living organism
are the instructions stored -
8:54 - 8:56to create a new organism?
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8:56 - 8:59This is a well-posed problem
with a definite answer; -
8:59 - 9:03it was answered in the 1800s and 1900s.
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9:04 - 9:09But artists often don't care
what the answer is -
9:09 - 9:14because often answers - definite answers -
don't exist in the arts; -
9:15 - 9:18the arts are complicated
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9:18 - 9:24by the intrinsic ambiguities
and self-contradictions of people. -
9:24 - 9:25This is one of the reasons
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9:25 - 9:30why the characters in a good novel
can be debated endlessly, -
9:30 - 9:36why God held the apple in front of Eve
and then forbade her to eat it. -
9:37 - 9:38In the arts,
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9:38 - 9:42there are many, many interesting questions
that don't have answers, -
9:42 - 9:48such as "Does God exist?"
or "What is the nature of love?" -
9:48 - 9:51or "Would we be happier
if we live to be a thousand years old?" - -
9:51 - 9:55and I'm grouping the arts
and the humanities together here. -
9:56 - 9:58These are very interesting questions;
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9:58 - 10:01they provoke us,
they stimulate our imagination, -
10:01 - 10:04but they don't have clear
and definite answers -
10:04 - 10:06or maybe no answers at all.
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10:07 - 10:10As the poet Rainer Maria Rilke wrote,
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10:11 - 10:16"We should learn to love
the questions themselves -
10:16 - 10:22like locked rooms and like books
written in a very foreign tongue." -
10:22 - 10:29And I have finally come to believe
that we need both kinds of questions: -
10:29 - 10:34we need questions with answers
and we need questions without answers - -
10:34 - 10:38that both kinds of questions
are part of being human. -
10:39 - 10:41Well, I've been speaking
about some of the differences -
10:41 - 10:43between the sciences and the arts -
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10:43 - 10:47let me say a little bit
about some of the similarities. -
10:48 - 10:49The folklore
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10:49 - 10:55is that artists make up everything
and scientists don't make up anything. -
10:56 - 10:58Well, both views are false.
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10:59 - 11:04The imagination has always been important
in a great scientist. -
11:04 - 11:09And Albert Einstein
had a phrase that he used - -
11:09 - 11:12he called it "the free invention
of the mind" in the sciences, -
11:12 - 11:16and by that, the great scientist meant
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11:16 - 11:19that we cannot discover
all of the truths of nature -
11:19 - 11:22simply by observation and experiment,
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11:22 - 11:25that sometimes we have
to start with mental constructions -
11:25 - 11:28and then only later test those
against experiment. -
11:28 - 11:32And one of the greatest examples
of Einstein's "free invention of the mind" -
11:32 - 11:36was his work on time,
called "the theory of special relativity." -
11:36 - 11:41And in that work, Einstein
begins with the stunning postulate -
11:41 - 11:44that a light ray passes us
at the same speed -
11:44 - 11:47whether we're running
towards the light ray -
11:47 - 11:48or away from it -
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11:48 - 11:52it makes no sense based
on our day-to-day experience, -
11:52 - 11:54it violates common sense,
-
11:54 - 11:59and yet Einstein realized
that our common sense could be in error -
11:59 - 12:03when it comes to the very
high speeds of a light ray, -
12:03 - 12:06and he made this leap of the imagination.
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12:07 - 12:12But scientists can't make up everything
even when they're developing new theories; -
12:12 - 12:16I mean, you can't put forth
a new law of gravity -
12:16 - 12:19that says apples fall up instead of down -
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12:19 - 12:23there's still a large body
of known experimental evidence -
12:23 - 12:25that we have to accord with.
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12:25 - 12:28And I would argue that in the same way,
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12:28 - 12:33there's a body of experimental evidence
that the artist must accord with - -
12:34 - 12:40it is the large catalog of known behavior
in psychology of human beings -
12:40 - 12:42called human nature,
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12:42 - 12:48and those are the facts
that the artist must accord with. -
12:48 - 12:51And let me give you an example
of what I'm talking about there. -
12:52 - 12:55Suppose a novelist
has created a character: -
12:55 - 13:00a man about 40 years old,
married with two children, -
13:00 - 13:02who's just attended a Christmas party.
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13:04 - 13:09Just for the sake of referring to him,
let's call this fellow Gabriel. -
13:10 - 13:12Well, we learn at
the beginning of the story -
13:12 - 13:15that Gabriel is not too sure of himself -
-
13:15 - 13:18he worried when he first got
into the Christmas party, -
13:18 - 13:22he worried that he had insulted
the housekeeper's daughter, -
13:22 - 13:24and a little bit later,
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13:24 - 13:28he's worrying that his after-dinner speech
is going to be condescending. -
13:29 - 13:31Well, anyway, the party ends.
-
13:32 - 13:37Gabriel and his wife Greta have left
their two children with a babysitter; -
13:37 - 13:40they've decided to spend the night
at a nearby hotel. -
13:40 - 13:43Greta's been very quiet
during the evening. -
13:43 - 13:45So they walk out of the house,
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13:45 - 13:47and they begin walking on a path
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13:47 - 13:50towards their hotel
in this little village. -
13:50 - 13:54It's well after midnight now;
it's beginning to snow. -
13:54 - 13:58Gabriel looks over at his wife
and admires her -
13:58 - 14:04and hopes that she still feels
in love with him -
14:04 - 14:08even though she's had the drudgery
of house work and children. -
14:08 - 14:10So they reach their hotel,
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14:10 - 14:14and they walk up
this narrow curving stairway -
14:14 - 14:17that's lit only by candlelight,
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14:17 - 14:19and they enter their room,
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14:20 - 14:25and by this time, Gabriel is feeling
a lot of desire for his wife, Greta. -
14:26 - 14:30And instead, she turns away from him
and she begins weeping. -
14:30 - 14:33And he asks her, "Why are you crying?"
-
14:33 - 14:37And she says that there was a sad song
sung at the Christmas party -
14:37 - 14:39that reminded her of a boy
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14:39 - 14:41that she used to know
long ago in her youth, -
14:41 - 14:44a boy with large brown eyes.
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14:45 - 14:47They used to go walking together.
-
14:48 - 14:51Gabriel feels a dread in his stomach,
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14:51 - 14:54and he asks his wife,
"Were you in love with this boy?" -
14:55 - 14:58And she says, "Yes,
we were great together at the time." -
14:59 - 15:04And then Greta says, "He died at age 17."
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15:05 - 15:08"What did he die of
so young?" asks Gabriel. -
15:10 - 15:13"I think he died for me," says Greta,
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15:13 - 15:18and she begins sobbing all over again
and throws herself to the bed. -
15:19 - 15:22Well, this scene that I've just described,
as some of you know, -
15:22 - 15:27is the last scene of James Joyce's
famous story The Dead, -
15:27 - 15:30and the question is:
How will Joyce end the scene? -
15:31 - 15:35What will be Gabriel's reaction
to his wife's confession? -
15:35 - 15:37Suppose that he shows no reaction -
-
15:37 - 15:42would we as readers with our
life experience believe that reaction? -
15:42 - 15:45No, it would ring false.
-
15:45 - 15:52Or suppose Gabriel feels superior
to this boy of the distant past, -
15:52 - 15:56this long dead boy,
and dismisses his wife's pain - -
15:56 - 15:58would we believe that reaction?
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15:58 - 16:00No, we wouldn't believe that either,
-
16:00 - 16:05because we know that Gabriel
is too insecure a character for that. -
16:05 - 16:09The ending that Joyce
actually writes is this: -
16:10 - 16:16Gabriel realizes that his wife
has always loved this long dead boy -
16:16 - 16:20more than she's ever
loved him, her husband, -
16:20 - 16:24and he also realizes
that he's never loved any woman -
16:24 - 16:29with the passion that she has just
demonstrated for this boy. -
16:30 - 16:33And all he can do after these realizations
-
16:34 - 16:37is sag against the windowpane,
-
16:37 - 16:40listening to the breathing
of his wife as she sleeps, -
16:40 - 16:46watching her as if he and she
had never been man and wife. -
16:47 - 16:52We believe this ending;
we know that it's true even in fiction -
16:52 - 16:55because it accords
with our life experiences, -
16:55 - 17:01with our understanding of human nature,
and it causes us anguish. -
17:03 - 17:08Both the scientist and the artist
are seeking truth. -
17:08 - 17:09In seeking truth,
-
17:09 - 17:13both the scientist
and the artist must invent. -
17:13 - 17:16Both kinds of invention are important.
-
17:16 - 17:20Both kinds of invention must be tested
against experiment. -
17:20 - 17:25The tests of the scientist's invention
are more definitive; -
17:25 - 17:28no matter how beautiful
a scientific theory is, -
17:28 - 17:32it has a terrible vulnerability -
it can be proven false. -
17:33 - 17:39A writer's characters or story
cannot be proven definitively wrong, -
17:40 - 17:45but they can ring false
and thus lose their power with the reader, -
17:45 - 17:50and in this way, the novelist
is constantly testing his fiction -
17:50 - 17:54against the accumulated
life experiences of his readers. -
17:58 - 18:01The scientists and the artists
that I have known -
18:01 - 18:05have at least one more thing in common:
-
18:05 - 18:08they do what they do because they love it
-
18:08 - 18:11and because they cannot imagine
doing anything else - -
18:12 - 18:13this is a compulsion.
-
18:13 - 18:17This compulsion is
both a blessing and a burden. -
18:17 - 18:18It's a blessing
-
18:18 - 18:21because the creative life
is a beautiful life -
18:21 - 18:23and it's not given to all of us,
-
18:23 - 18:26and it's a burden
because when the call comes, -
18:26 - 18:31it can be unrelenting
and it can drown out the rest of life. -
18:31 - 18:34This mixed blessing and burden
-
18:34 - 18:38must be the sweet hell
that Walt Whitman referred to -
18:38 - 18:43when he realized at a young age
that he was destined to be a poet - -
18:43 - 18:46"Never more shall I escape,"
wrote Whitman. -
18:46 - 18:49This mixed blessing and burden
-
18:49 - 18:54must be why a visitor
to the young Einstein's apartment in Bern -
18:54 - 18:59found the physicists rocking
the cradle of his son with one hand -
18:59 - 19:02and doing mathematical
calculations with the other. -
19:02 - 19:04Thank you.
-
19:04 - 19:05(Applause)
- Title:
- The physicist as novelist | Alan Lightman | TEDxWellesleyCollege
- Description:
-
Alan Lightman discusses the distinctions between how scientists try to name things -- to identify and to distill, so that there is only a single meaning of a thing, like an equation -- and the artist tries to avoid naming things. The scientist works by formulating questions that have definite answers, while in the arts, the answer is less important, and often an answer does not exist. Both scientists and artists are seeking truth, and in this their enterprises are similar. But the truths are different. In the sciences, it is truth in the world of mass and force -- the external world -- and in the arts, it is truth in the world of the mind and the heart -- the internal world.
Alan Lightman is an American writer, physicist, and social entrepreneur. He has served on the faculties of Harvard and the Massachusetts Institute of Technology (MIT) and was the first person at MIT to receive dual faculty appointments in science and in the humanities. Lightman is currently professor of the practice of the humanities at MIT. His novel Einstein's Dreams was an international bestseller, has been the basis for dozens of independent theatrical and musical adaptations around the world, and appears on numerous college reading lists. Lightman is also the founding director of the Harpswell Foundation, a nonprofit organization whose mission is "to empower a new generation of women leaders in Cambodia."
This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDxTalks
- Duration:
- 19:14
Rhonda Jacobs approved English subtitles for The physicist as novelist | Alan Lightman | TEDxWellesleyCollege | ||
Rhonda Jacobs accepted English subtitles for The physicist as novelist | Alan Lightman | TEDxWellesleyCollege | ||
Rhonda Jacobs edited English subtitles for The physicist as novelist | Alan Lightman | TEDxWellesleyCollege | ||
Amanda Chu edited English subtitles for The physicist as novelist | Alan Lightman | TEDxWellesleyCollege | ||
Amanda Chu edited English subtitles for The physicist as novelist | Alan Lightman | TEDxWellesleyCollege | ||
Amanda Chu edited English subtitles for The physicist as novelist | Alan Lightman | TEDxWellesleyCollege | ||
Amanda Chu edited English subtitles for The physicist as novelist | Alan Lightman | TEDxWellesleyCollege | ||
Amanda Chu edited English subtitles for The physicist as novelist | Alan Lightman | TEDxWellesleyCollege |