Given what was required to get from the top to the bottom of the atmosphere in one piece, it's a great relief.
Congratulations guys. Now we can all get back to work!
Given what was required to get from the top to the bottom of the atmosphere in one piece, it's a great relief.
Congratulations guys. Now we can all get back to work!
The mp3 of the interview is now available on the Melbourne CBF website.
The event was called “The Faith of a Physicist”, but we talked more about physics as such, in particular my own field (particle physics), and what it's like to be a physicist ... only then drawing the connections with my being a Christian, and having a degree in theology. So the talk is not itself a confession of faith. (There was some of that later in the day, but that's another story.) We covered a lot of good, scientific ground partly because the interviewer was my old friend Tim Patrick: a priest in the Anglican Diocese of Melbourne, but by training a geologist, with research experience in the field and the lab. After talking about physics itself we talked about its limits:
People ask ... what the limits of physics are. I don't know what the limits of physics are. I can tell you what the limits of my current experiments are, within a limited time horizon, but not really beyond that ... The questions that you can answer with physics are surprising if you don't have the scientific knowledge yourself, if that makes sense: you need to understand the field to have a sense for what the reach of the field is, and someone outside the field — you can't legislate it. Not just because it's an open enquiry, but because it's non-trivial: there's more things in heaven and earth than are dreamt of in my or your philosophy, and certainly in the philosophy of someone like you or me a hundred years ago. So you just have to run with it.We also covered the difficulty of interdisciplinary work, what the sciences and theology tell us about each other, a bit of 19th-century scientific history, the difference between scientific and cultural questions, ...
There were questions from the floor at the end of the interview, which for some reason have not made it onto the mp3 ... although my answers have. So that the answers might make more sense, I've done what I can to reconstruct the questions:
The irony is that our soldiers are the last people who are likely to call themselves heroes and are apparently very uncomfortable with this kind of talk. The military understands itself as a group endeavor. As the West Point professor Elizabeth D. Samet recently noted, service members feel uneasy when strangers approach them to — as the well-meaning but oddly impersonal ritual goes — thank them for their service, thereby turning them into paradoxically anonymous celebrities. It was wrong to demonize our service members in Vietnam; to canonize them now is wrong as well. Both distortions make us forget that what they are are human beings...The change of tone in the coverage and discussion of Anzac Day, noticeable to anyone over a certain age, springs to mind as an Australian analogue, although the causes may be somewhat different.
I could have been easier on you,
I couldn't change though I wanted to.
Then again, nobody is smart enough now to know what could come of the starship effort, Mr. Neyland pointed out. It would be naïve to think we even know the right questions to ask.
“If you had asked Einstein and Marconi in 1910 to define a worldwide communication system for the common man,” Mr. Neyland asked, “would he have come up with the iPhone?”
The reputation that Ms. Streep earned for her work in those films retains more luster than most of the movies themselves. Sandwiched between the endlessly mythologized Golden Age of ’70s New Hollywood and the now almost equally sentimentalized decade of the American Indies, the ’80s are comparatively bereft of nostalgic movie-fan affection or revisionist critical love. And yet the respectable films of that era may represent the last gasp of a noble middlebrow ideal. They were ambitious, unapologetically commercial projects intended for the entertainment and edification of grown-up audiences, neither self-consciously provocative nor timidly inoffensive. Some of us grew up on movies like “Sophie’s Choice” and “Out of Africa,” and our fondness outlasts the sense that we eventually outgrew them. Nowadays “Kramer vs. Kramer” and “A Cry in the Dark” would be scruffy little Sundance movies. “Out of Africa” would be in French. “Silkwood” would be “The Blind Side.”A.O. Scott's full article, on the occasion of Meryl Streep's 16th Academy Award nomination, is here on the NYT movie site.
Ms. Streep — grave, scrupulously attentive to the nuances of performance, imbuing every gesture with the values of craftsmanship and respect for quality — was not only the star of so many of these ’80s Oscar movies, but also the most recognizable embodiment of their aesthetic...
`Do Mages often beg?' asled Tenar, on the road between green fields, where goats and little spotted cattle grazed.Ursula K. Le Guin, The Tombs of Atuan, 1971
`Why do you ask?'
`You seemed used to begging. In fact you were good at it.'
`Well, yes. I've begged all my life, if you look at it that way. Wizards don't own much, you know. In fact nothing but their staff and clothing, if they wander. They are received and given food and shelter, by most people, gladly. They do make some return.'
`What return?'
`Well, that woman in the village. I cured her goats.'
`What was wrong with them?'
`They both had infected udders. I used to herd goats when I was a boy.'
`Did you tell her you'd cured them?'
`No. How could I? Why should I?'
After a pause she said, `I see your magic is not good only for large things.'
`Hospitality,' he said, `kindness to a stranger, that's a very large thing. Thanks are enough, of course. But I was sorry for the goats.'