It is better to be wrong than to be vague. - Freeman Dyson

In contrast to Kuhn, Galison in his classic work Image and Logic, published in 1997, describes the history of particle physics as a history of tools rather than ideas. According to Image and Logic, the progress of science is tool-driven. The tools of particle physics are of two kinds, optical and electronic. The optical tools are devices such as cloud chambers, bubble chambers, and photographic emulsions, which display particle interactions visually by means of images. The images record the tracks of particles. An experienced experimenter can see at once from the image when a particle is doing something unexpected. Optical tools are more likely to lead to discoveries that are qualitatively new.

On the other hand, electronic tools are better for answering quantitative questions. Electronic detectors such as the Geiger counters that measure radioactivity in the cellars of old houses are based on logic. They are programmed to ask simple questions each time they detect a particle, and to record whether the answers to the questions are yes or no. They can detect particle collisions as at rates of millions per second, sort them into yes's and no's, and count the number that answered yes and the number that answered no. The history of particle physics may be divided into two periods, the earlier period ending about 1980 when optical detectors and images were dominant, and the later period when electronic detectors and logic were dominant. Before the transition, science advanced by making qualitative discoveries of new particles and new relationships between particles. After the transition, with the zoo of known particles more or less complete, the science advanced by measuring their interactions with greater and greater precision. In both periods, before and after the transition, tools were the driving force of progress.

The black hole solution of Einstein's equations is also a work of art. The black hole is not as majestic as Godel's proof, but it has the essential features of a work of art: uniqueness, beauty, and unexpectedness. Oppenheimer and Snyder built out of Einstein's equations a structure that Einstein had never imagined. The idea of matter in permanent free fall was hidden in the equations, but nobody saw it until it was revealed in the Oppenheimer-Snyder solution. On a much more humble level, my own activities as a theoretical physicist have a similar quality. When I am working, I feel myself to be practicing a craft rather than following a method. When I did my most important piece of work as a young man, putting together the ideas of Sin-Itiro Tomonaga, Julian Schwinger, and Richard Feynman to obtain a simplified version of quantum electrodynamics, I had consciously in mind a metaphor to describe what I was doing. The metaphor was bridge-building. Tomonaga and Schwinger had built solid foundations on the other side, and my job was to design and build the cantilevers reaching out over the water until they met in the middle. The metaphor was a good one. The bridge that I built is still serviceable and still carrying traffic forty years later. The same metaphor describes well the greater work of unification achieved by Stephen Weinberg and Abdus Salam when they bridged the gap between electrodynamics and the weak interactions. In each case, after the work of unification is done, the whole stands higher than the parts.

It is a curious accident of history that the Christian religion became heavily involved with theology. No other religion finds it necessary to formulate elaborately precise statements about the abstract qualities and relationships of gods and humans. ... The idea that God may be approached and understood through intellectual analysis is uniquely Christian.