American biologist and historian of science (1941–2002)
Stephen Jay Gould (September 10, 1941 – May 20, 2002) was an American geologist, paleontologist, evolutionary biologist and popular-science author, who spent most of his career teaching at Harvard University and working at the American Museum of Natural History in New York. He was one of the most influential and widely read writers of popular science of his generation.
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Before Kuhn, most scientists followed the place-a-stone-in-the-bright-temple-of-knowledge tradition, and would have told you that they hoped, above all, to lay many of the bricks, perhaps even set the keystone, of truth's temple—the additive or meliorist model of scientific progress. Now most scientists of vision hope to foment revolution.
We are, therefore, awash in revolutions, most self-proclaimed.
Thus, when we tackle the greatest of all evolutionary questions about human existence—how, when, and why did we emerge on the tree of life; and were we meant to arise, or are we only lucky to be here—our prejudices often overwhelm our limited information. Some of these biased descriptions are so venerable, so reflexive, so much a part of our second nature, that we never stop to recognize their status as social decisions with radical alternatives—and we view them instead as given and obvious truths.
[S]cientists are not robotic inducing machines that infer structures of explanation only from regularities observed in natural phenomena (assuming, as I doubt, that such a style of reasoning could ever achieve success in principle). Scientists are human beings, immersed in culture, and struggling with all the curious tools of inference that mind permits […]. Culture can potentiate as well as constrain—as Darwin's translation of Adam Smith's laissez-faire economic models into biology as the theory of natural selection. In any case, objective minds do not exist outside culture, so we must make the best of our ineluctable embedding.
I respect Kirkpatrick both for his sponges and for his numinous nummulosphere. It is easy to dismiss a crazy theory with laughter that debars any attempt to understand a man's motivation—and the nummulosphere is a crazy theory. I find that few men of imagination are not worth my attention. Their ideas may be wrong, even foolish, but their methods often repay a close study. […] The different drummer often beats a fruitful tempo.
Western field-work conjures up images of struggle on horseback […]—toughing it out on one canteen a day as you labor up and down mountains. The value of a site is supposedly correlated with the difficulty of getting there. This, of course, is romantic drivel. Ease of access is no measure of importance. The famous La Brea tar pits are right in downtown Los Angeles. To reach the Clarkia lake beds, you turn off the main road at Buzzard's Roost Trophy Company and drive the remaining fifty yards right up to the site.
I have a great respect for religion, and the subject has always fascinated me […]. Much of this fascination lies in the stunning historical paradox that organized religion has fostered, throughout Western history, both the most unspeakable horrors and the most heartrending examples of human goodness in the face of personal danger. (The evil, I believe, lies in an occasional confluence of religion with secular power. The Catholic Church has sponsored its share of horrors, from Inquisitions to liquidations—but only because this institution held great secular power during much of Western history. When my folks held such sway, more briefly and in Old Testament times, we committed similar atrocities with the same rationales.)
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I have long recognized the theory and aesthetic of such comprehensive display: show everything and incite wonder by sheer variety. But I had never realized how powerfully the decor of a cabinet museum can promote this goal until I saw the Dublin <nowiki>[Natural History Museum]</nowiki> fixtures redone right. […] The exuberance is all of one piece—organic and architectural. I write this essay to offer my warmest congratulations to the Dublin Museum for choosing preservation—a decision not only scientifically right, but also ethically sound and decidedly courageous. The avant-garde is not an exclusive locus of courage; a principled stand within a reconstituted rear unit may call down just as much ridicule and demand equal fortitude. Crowds do not always rush off in admirable or defendable directions.