It took a bit of time to get David Politzer to agree to sit down and talk with me. A co-recipient of the 2004 Nobel Prize in Physics, he was all too familiar with people approaching him out of the sheer excitement at being able to tell their friends that they had spent some time chatting with a Nobel Laureate.
That wasn’t my problem. By a curious twist of fate, over the years I had found myself spending enough time in the company of Nobel Laureates to know that it could often be a highly overrated experience. Indeed, other than a few notable exceptions (such as the almost overwhelmingly genial Tony Leggett), knowing that someone had a Nobel Prize invariably made me look searchingly towards the nearest exit.
Still, it was David’s Nobel that first brought him to my attention, as it were. Years ago an astute colleague urged me to read The Dilemma of Attribution, David’s clever, thoughtful, and humble Nobel lecture that detailed the communal nature of frontline scientific inquiry: using his own “Nobel-winning” work on asymptotic freedom to explicitly demonstrate how science builds shining edifices of our understanding by rigorously compiling insights by different researchers, one upon the other. (more…)
Why study history?
It’s a deceptively penetrating question, and asking it runs a serious risk of being subjected to a barrage of knee-jerk homilies, from the importance of a general cultural understanding to a basic appreciation of different ways of doing things. More often than not, however, you will hear talk of the importance of applying lessons from history to better navigate present challenges, typically invoking George Santanya’s famous quote “Those who cannot remember the past are condemned to repeat it.”
For David Armitage, Lloyd C. Blankfein Professor of History at Harvard University, the reality is rather murkier: it’s not so much that studying history will enable us to avoid committing the same mistakes as our predecessors, but that considerable effort needs to be made to get a clear sense of what these predecessors thought they were doing in the first place.
“How are we to put ideas and other cultural forms into the past in such a way that they become comprehensible in past terms, but then can also be rendered comprehensible in the present?
“Whether it’s a Shakespeare play, an epic poem by John Milton, a work of political thought by Thomas Hobbes or John Locke, or performances of 16th-century music – we can’t hear with 16th-century ears, but we can approximate to 16th-century performance practices in singing: how does one bridge that gap to recover some kind of authenticity, to understand how the original creators, or in the case of music, performers, understood what they were doing?” (more…)