I feel very much like Dirac: the idea of a personal God is foreign to me. But we ought to remember that religion uses language in quite a different way from science. The language of religion is more closely related to the language of poetry than to the language of science. True, we are inclined to think that science deals with information about objective facts, and poetry with subjective feelings. Hence we conclude that if religion does indeed deal with objective truths, it ought to adopt the same criteria of truth as science. But I myself find the division of the world into an objective and a subjective side much too arbitrary. The fact that religions through the ages have spoken in images, parables, and paradoxes means simply that there are no other ways of grasping the reality to which they refer. But that does not mean that it is not a genuine reality. And splitting this reality into an objective and a subjective side won't get us very far.
Danish physicist (1885–1962)
Niels Henrik David Bohr (7 October 1885 – 18 November 1962) was a Danish physicist who made foundational contributions to understanding atomic structure and quantum theory, for which he received the Nobel Prize in Physics in 1922. Bohr was also a philosopher and a promoter of scientific research.
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The grand discoveries which scientific experiment yielded at and about the turn of the century, in which investigators in many countries took an eminent part and which were destined all unexpectedly to give us a fresh insight into the structure of atoms, were due in the first instance, as all are aware, to the work of the great investigators of the English school, Sir Joseph Thomson and Sir Ernest Rutherford, who have inscribed their names on the tablets of the history of scientific research as distinguished witnesses to the truth that imagination and acumen are capable of penetrating the crowded mass of registered experience and of revealing Nature's simplicity to our gaze.
For a parallel to the lesson of atomic theory regarding the limited applicability of such customary idealizations, we must in fact turn to quite other branches of science, such as psychology, or even to that kind of epistemological problems with which already thinkers like Buddha and Lao Tzu have been confronted, when trying to harmonize our position as spectators and actors in the great drama of existence.
The enrichment which art can give us originates in its power to remind us of harmonies beyond the grasp of systematic analysis. Literary, pictorial and musical art may be said to form a renunciation of definition, characteristic of scientific communication, leaves fantasy a freer display. In particular, in poetry this purpose is achieved by the juxtaposition of words relating to shifting observational situation, thereby emotionally uniting manifold aspects of human knowledge.