Tom McLeish – författare

"Can you Count the Clouds?" asks the voice of God from the whirlwind in the stunningly beautiful catalogue of nature-questions from the Old Testament Book of Job. Tom McLeish takes a scientist''s reading of this ancient text as a centrepiece to make the case for science as a deeply human and ancient activity, embedded in some of the oldest stories told about human desire to understand the natural world. Drawing on stories from the modern science of chaos anduncertainty alongside medieval, patristic, classical and Biblical sources, Faith and Wisdom in Science challenges much of the current ''science and religion'' debate as operating with the wrong assumptions and in the wrong space. Its narrative approach develops a natural critique of the cultural separation ofsciences and humanities, suggesting an approach to science, or in its more ancient form natural philosophy - the ''love of wisdom of natural things'' - that can draw on theological and cultural roots. Following the theme of pain in human confrontation with nature, it develops a ''Theology of Science'', recognising that both scientific and theological worldviews must be ''of'' each other, not holding separate domains. Science finds its place within an old story of participative reconciliation with anature, of which we start ignorant and fearful, but learn to perceive and work with in wisdom. Surprisingly, science becomes a deeply religious activity. There are urgent lessons for education, the political process of decision-making on science and technology, our relationship with the globalenvironment, and the way that both religious and secular communities alike celebrate and govern science.

"Can you Count the Clouds?" asks the voice of God from the whirlwind in the stunningly beautiful catalogue of nature-questions from the Old Testament Book of Job. Tom McLeish takes a scientist''s reading of this ancient text as a centrepiece to make the case for science as a deeply human and ancient activity, embedded in some of the oldest stories told about human desire to understand the natural world. Drawing on stories from the modern science of chaos anduncertainty alongside medieval, patristic, classical and Biblical sources, Faith and Wisdom in Science challenges much of the current ''science and religion'' debate as operating with the wrong assumptions and in the wrong space. Its narrative approach develops a natural critique of the cultural separation ofsciences and humanities, suggesting an approach to science, or in its more ancient form natural philosophy - the ''love of wisdom of natural things'' - that can draw on theological and cultural roots. Following the theme of pain in human confrontation with nature, it develops a ''Theology of Science'', recognising that both scientific and theological worldviews must be ''of'' each other, not holding separate domains. Science finds its place within an old story of participative reconciliation with anature, of which we start ignorant and fearful, but learn to perceive and work with in wisdom. Surprisingly, science becomes a deeply religious activity. There are urgent lessons for education, the political process of decision-making on science and technology, our relationship with the globalenvironment, and the way that both religious and secular communities alike celebrate and govern science.

What human qualities are needed to make scientific discoveries, and which to make great art? Many would point to ''imagination'' and ''creativity'' in the second case but not the first. This book challenges the assumption that doing science is in any sense less creative than art, music or fictional writing and poetry, and treads a historical and contemporary path through common territories of the creative process. The methodological process called the ''scientificmethod'' tells us how to test ideas when we have had them, but not how to arrive at hypotheses in the first place. Hearing the stories that scientists and artists tell about their projects reveals commonalities: the desire for a goal, the experience of frustration and failure, the incubation of the problem,moments of sudden insight, and the experience of the beautiful or sublime.Selected themes weave the practice of science and art together: visual thinking and metaphor, the transcendence of music and mathematics, the contemporary rise of the English novel and experimental science, and the role of aesthetics and desire in the creative process. Artists and scientists make salient comparisons: Defoe and Boyle; Emmerson and Humboldt, Monet and Einstein, Schumann and Hadamard. The book draws on medieval philosophy at many points as the product of the last age that spenttime in inner contemplation of the mystery of how something is mentally brought out from nothing. Taking the phenomenon of the rainbow as an example, the principles of creativity within constraint point to the scientific imagination as a parallel of poetry.

What human qualities are needed to make scientific discoveries, and which to make great art? Many would point to ''imagination'' and ''creativity'' in the second case but not the first. This book challenges the assumption that doing science is in any sense less creative than art, music or fictional writing and poetry, and treads a historical and contemporary path through common territories of the creative process. The methodological process called the ''scientificmethod'' tells us how to test ideas when we have had them, but not how to arrive at hypotheses in the first place. Hearing the stories that scientists and artists tell about their projects reveals commonalities: the desire for a goal, the experience of frustration and failure, the incubation of the problem,moments of sudden insight, and the experience of the beautiful or sublime.Selected themes weave the practice of science and art together: visual thinking and metaphor, the transcendence of music and mathematics, the contemporary rise of the English novel and experimental science, and the role of aesthetics and desire in the creative process. Artists and scientists make salient comparisons: Defoe and Boyle; Emmerson and Humboldt, Monet and Einstein, Schumann and Hadamard. The book draws on medieval philosophy at many points as the product of the last age that spenttime in inner contemplation of the mystery of how something is mentally brought out from nothing. Taking the phenomenon of the rainbow as an example, the principles of creativity within constraint point to the scientific imagination as a parallel of poetry.

Soft Matter science is concerned with soft materials such as polymers, colloids, liquid crystals, and foams, and has emerged as a rich interdisciplinary field over the last 30 years. Drawing on physics, chemistry, mathematics and engineering, soft matter links fundamental scientific ideas to everyday phenomena. One such example is ''polymers'', encountered in plastic materials and melted cheese, which illustrate how ''sliminess'' emerges from the flow and form of giant molecules.This Very Short Introduction delves into the field of soft matter, looking beneath the appearances of matter into its inner structure. Tom McLeish shows how Brownian Motion - the random local motion of molecules that gives rise to ''heat'' - is an underlying principle of soft matter. From hair conditioner to honey, he discusses how the shared physical properties and characteristics of these materials influence the way they behave, and their industrial applications.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Soft Matter science is concerned with soft materials such as polymers, colloids, liquid crystals, and foams, and has emerged as a rich interdisciplinary field over the last 30 years. Drawing on physics, chemistry, mathematics and engineering, soft matter links fundamental scientific ideas to everyday phenomena. One such example is ''polymers'', encountered in plastic materials and melted cheese, which illustrate how ''sliminess'' emerges from the flow and form of giant molecules.This Very Short Introduction delves into the field of soft matter, looking beneath the appearances of matter into its inner structure. Tom McLeish shows how Brownian Motion - the random local motion of molecules that gives rise to ''heat'' - is an underlying principle of soft matter. From hair conditioner to honey, he discusses how the shared physical properties and characteristics of these materials influence the way they behave, and their industrial applications.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Two questions guide this seven-year project: First, how can we approach the phenomenon, representation, and interpretation of total solar eclipses? Second, how can we heal the historical divide separating the natural sciences from the humanities, arts, history, and theology? The result of this interdisciplinary investigation into eclipses is an exciting look behind the scenes - into labs, archives, and museums, as well as around fieldwork in astronomy, meteorology, animal behaviour, and ecophysiology.Carefully prepared for readers from all backgrounds, these voices invite us to imagine a liberated mode of discovery, perception, creativity, and knowledge-production across the traditional academic divisions. A uniquely prismatic representation of total solar eclipses emerges, itself rising to a model of communal thinking, together, across disciplinary borders. This book is Tom McLeish''s final project and scholarly testament. Dedicated to him and to astrophysicist Jay M. Pasachoff (contributing author of a chapter about the solar corona, also Pasachoff''s final piece of writing), the volume is a friendly companion to the chase of knowledge, encouraging its readers to embark upon their own interdisciplinary journey of discovery.

What human qualities are needed to make scientific discoveries, and which to make great art? Many would point to 'imagination' and 'creativity' in the second case but not the first. This book challenges the assumption that doing science is in any sense less creative than art, music or fictional writing and poetry, and treads a historical and contemporary path through common territories of the creative process. The methodological process called the 'scientific method' tells us how to test ideas when we have had them, but not how to arrive at hypotheses in the first place. Hearing the stories that scientists and artists tell about their projects reveals commonalities: the desire for a goal, the experience of frustration and failure, the incubation of the problem, moments of sudden insight, and the experience of the beautiful or sublime.Selected themes weave the practice of science and art together: visual thinking and metaphor, the transcendence of music and mathematics, the contemporary rise of the English novel and experimental science, and the role of aesthetics and desire in the creative process. Artists and scientists make salient comparisons: Defoe and Boyle; Emmerson and Humboldt, Monet and Einstein, Schumann and Hadamard. The book draws on medieval philosophy at many points as the product of the last age that spent time in inner contemplation of the mystery of how something is mentally brought out from nothing. Taking the phenomenon of the rainbow as an example, the principles of creativity within constraint point to the scientific imagination as a parallel of poetry.

Two questions guide this seven-year project: First, how can we approach the phenomenon, representation, and interpretation of total solar eclipses? Second, how can we heal the historical divide separating the natural sciences from the humanities, arts, history, and theology? The result of this interdisciplinary investigation into eclipses is an exciting look behind the scenes - into labs, archives, and museums, as well as around fieldwork in astronomy, meteorology, animal behaviour, and ecophysiology.Carefully prepared for readers from all backgrounds, these voices invite us to imagine a liberated mode of discovery, perception, creativity, and knowledge-production across the traditional academic divisions. A uniquely prismatic representation of total solar eclipses emerges, itself rising to a model of communal thinking, together, across disciplinary borders. This book is Tom McLeish's final project and scholarly testament. Dedicated to him and to astrophysicist Jay M. Pasachoff (contributing author of a chapter about the solar corona, also Pasachoff's final piece of writing), the volume is a friendly companion to the chase of knowledge, encouraging its readers to embark upon their own interdisciplinary journey of discovery.

"Do you have wisdom to count the clouds?" asks the voice of God from the whirlwind in the stunningly beautiful catalogue of nature-questions from the Old Testament Book of Job. Tom McLeish takes a scientist's reading of this ancient text as a centrepiece to make the case for science as a deeply human and ancient activity, embedded in some of the oldest stories told about human desire to understand the natural world. Drawing on stories from the modern science of chaos and uncertainty alongside medieval, patristic, classical and Biblical sources, Faith and Wisdom in Science challenges much of the current 'science and religion' debate as operating with the wrong assumptions and in the wrong space. Its narrative approach develops a natural critique of the cultural separation of sciences and humanities, suggesting an approach to science, or in its more ancient form natural philosophy - the 'love of wisdom of natural things' - that can draw on theological and cultural roots. Following the theme of pain in human confrontation with nature, it develops a 'Theology of Science', recognising that both scientific and theological worldviews must be 'of' each other, not holding separate domains. Science finds its place within an old story of participative reconciliation with a nature, of which we start ignorant and fearful, but learn to perceive and work with in wisdom. Surprisingly, science becomes a deeply religious activity. There are urgent lessons for education, the political process of decision-making on science and technology, our relationship with the global environment, and the way that both religious and secular communities alike celebrate and govern science.

"Can you Count the Clouds?" asks the voice of God from the whirlwind in the stunningly beautiful catalogue of nature-questions from the Old Testament Book of Job. Tom McLeish takes a scientist's reading of this ancient text as a centrepiece to make the case for science as a deeply human and ancient activity, embedded in some of the oldest stories told about human desire to understand the natural world. Drawing on stories from the modern science of chaos and uncertainty alongside medieval, patristic, classical and Biblical sources, Faith and Wisdom in Science challenges much of the current 'science and religion' debate as operating with the wrong assumptions and in the wrong space. Its narrative approach develops a natural critique of the cultural separation of sciences and humanities, suggesting an approach to science, or in its more ancient form natural philosophy - the 'love of wisdom of natural things' - that can draw on theological and cultural roots. Following the theme of pain in human confrontation with nature, it develops a 'Theology of Science', recognising that both scientific and theological worldviews must be 'of' each other, not holding separate domains. Science finds its place within an old story of participative reconciliation with a nature, of which we start ignorant and fearful, but learn to perceive and work with in wisdom. Surprisingly, science becomes a deeply religious activity. There are urgent lessons for education, the political process of decision-making on science and technology, our relationship with the global environment, and the way that both religious and secular communities alike celebrate and govern science.

What human qualities are needed to make scientific discoveries, and which to make great art? Many would point to 'imagination' and 'creativity' in the second case but not the first. This book challenges the assumption that doing science is in any sense less creative than art, music or fictional writing and poetry, and treads a historical and contemporary path through common territories of the creative process. The methodological process called the 'scientific method' tells us how to test ideas when we have had them, but not how to arrive at hypotheses in the first place. Hearing the stories that scientists and artists tell about their projects reveals commonalities: the desire for a goal, the experience of frustration and failure, the incubation of the problem, moments of sudden insight, and the experience of the beautiful or sublime.Selected themes weave the practice of science and art together: visual thinking and metaphor, the transcendence of music and mathematics, the contemporary rise of the English novel and experimental science, and the role of aesthetics and desire in the creative process. Artists and scientists make salient comparisons: Defoe and Boyle; Emmerson and Humboldt, Monet and Einstein, Schumann and Hadamard. The book draws on medieval philosophy at many points as the product of the last age that spent time in inner contemplation of the mystery of how something is mentally brought out from nothing. Taking the phenomenon of the rainbow as an example, the principles of creativity within constraint point to the scientific imagination as a parallel of poetry.

Soft Matter science is concerned with soft materials such as polymers, colloids, liquid crystals, and foams, and has emerged as a rich interdisciplinary field over the last 30 years. Drawing on physics, chemistry, mathematics and engineering, soft matter links fundamental scientific ideas to everyday phenomena. One such example is 'polymers', encountered in plastic materials and melted cheese, which illustrate how 'sliminess' emerges from the flow and form of giant molecules.This Very Short Introduction delves into the field of soft matter, looking beneath the appearances of matter into its inner structure. Tom McLeish shows how Brownian Motion - the random local motion of molecules that gives rise to 'heat' - is an underlying principle of soft matter. From hair conditioner to honey, he discusses how the shared physical properties and characteristics of these materials influence the way they behave, and their industrial applications.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Science, Religion, and the Human Future: Conflict, Collusion, and Consequences demonstrates that the myth of an inevitable conflict between science and faith is based on a misunderstanding of history, with potentially adverse consequences for human futures. The work focuses first upon ancient, medieval and Islamic scholars and the intimate connections they made between theology and the investigation of the natural world-and why we know so little about them. Moving into the modern era, it argues that one of the most concerning features of the science-faith relationship was their collusion in defining and validating the 'civilising mission' of Western imperialism. This collusion recontextualises the creation of the conflict thesis. Turning to the present day, the book investigates episodes of scientific controversy in which effective science communication was hindered not as a result of a clash between science and faith but because of a close and unexamined entanglement between the two. In cases ranging from space colonisation to AI, climate change to Covid-19, the problem is not so much science's split from faith as the unexamined and problematic theologies that remain implicit within it. Learning from these examples, the book outlines some productive and non-conflict-based frameworks for talking about science and faith in the future.

Science, Religion, and the Human Future: Conflict, Collusion, and Consequences demonstrates that the myth of an inevitable conflict between science and faith is based on a misunderstanding of history, with potentially adverse consequences for human futures. The work focuses first upon ancient, medieval and Islamic scholars and the intimate connections they made between theology and the investigation of the natural world-and why we know so little about them. Moving into the modern era, it argues that one of the most concerning features of the science-faith relationship was their collusion in defining and validating the 'civilising mission' of Western imperialism. This collusion recontextualises the creation of the conflict thesis. Turning to the present day, the book investigates episodes of scientific controversy in which effective science communication was hindered not as a result of a clash between science and faith but because of a close and unexamined entanglement between the two. In cases ranging from space colonisation to AI, climate change to Covid-19, the problem is not so much science's split from faith as the unexamined and problematic theologies that remain implicit within it. Learning from these examples, the book outlines some productive and non-conflict-based frameworks for talking about science and faith in the future.

Science, Religion, and the Human Future: Conflict, Collusion, and Consequences demonstrates that the myth of an inevitable conflict between science and faith is based on a misunderstanding of history, with potentially adverse consequences for human futures. The work focuses first upon ancient, medieval and Islamic scholars and the intimate connections they made between theology and the investigation of the natural world-and why we know so little about them. Moving into the modern era, it argues that one of the most concerning features of the science-faith relationship was their collusion in defining and validating the 'civilising mission' of Western imperialism. This collusion recontextualises the creation of the conflict thesis. Turning to the present day, the book investigates episodes of scientific controversy in which effective science communication was hindered not as a result of a clash between science and faith but because of a close and unexamined entanglement between the two. In cases ranging from space colonisation to AI, climate change to Covid-19, the problem is not so much science's split from faith as the unexamined and problematic theologies that remain implicit within it. Learning from these examples, the book outlines some productive and non-conflict-based frameworks for talking about science and faith in the future.