Don't forget that the "fruit" for scientists is fame, not the truth. Anything that can get headlines and conference talks is a good thing, regardless of whether or not the methodology even makes sense.
This is a pretty shocking thing to say. It's not true whatsoever for the field of physics. Is there a particular field or a particular experience you're reacting to? I think I'm overreacting to how general your statement is.
I works a surprising amount of the time!
I used to like them as a teenager and whenever I pick up a game now (I'm in my early 40's) I am just completely bored. Part of it I think is because it requires some form of mental engagement after a day's hard work?
Soma is especially great. It's utterly scary, it's beautiful to explore (per my taste), and the way the story unfolds really pulled me in.
SubNautica somewhat qualifies if you have a hint of thalassophobia. There is a very small combat element that you can entirely ignore.
Most other games bore my adult self as well, but the above are so compelling that I only play them in the right conditions so that I really enjoy them: alone at night with headphones.
The definition is somewhat arbitrary, but still has some real physical significance. In actual fact, a proton is a field, so it doesn't have sharp boundaries. But the amplitude of the field still dies off very rapidly with distance from the center, so you can pick some arbitrary small value and say "the point at which the amplitude becomes less than this value is the radius of the proton". What matters is not really the number that you get out of this, but the fact that the experimental results of measuring this value appeared to change in the presence of muons. This was a phenomenon that was not predicted by present theory, and if it had held up, would have been a major breakthrough. One of the biggest problems in physics right now is that there are no experiments (except possibly this one) whose results are at odds with the Standard Model. That makes it hard to improve the model!
The thing about those particular questions is that they only tell us that the standard model is incomplete. Gravity exists. The fact that it's not in the standard model doesn't necessarily mean that the model is broken, just that gravity needs to be added somehow.
What we need more of are instances where the standard model makes a precise numeric prediction and it's dead wrong. That puts a spotlight on every piece of the standard model that went into the prediction.
(Edited for the pun I didn't intend.)
Sure simply learning this stuff is interesting, but the costs are so extreme it’s effectively a vanity project.
The data points from microgravity experiments don't exist in isolation; presumably there are data points for similar experiments at surface gravity. Removing gravity from a system could say very much about how gravity affects the system, and thus how the system works on Earth.
We also might discover effects so important that it would be worth going to microgravity to get them. Stepping out into the unknown just to learn how it works is important.
(Disclaimer: I know jack about what kind of microgravity experiments are going on.)
I'd suggest:
The City Of Ember
Akata Witch
The Hate U Give
The Sun Is Also A Star
There's also the ones most people know: Silverwing (more children's literature), Harry Potter, Holes...
> Frears said, “What we realized was that the novel was a machine to get to twelve crucial speeches in the book about romance and art and music and list-making and masculine distance and the masculine drive for art and the masculine difficulty with intimacy.”
> This is the case for most novels: you have to read seven hundred pages to get the handful of insights that were the reason the book was written, and the apparatus of the novel is there as a huge, elaborate, overbuilt stage set.
This is a pet peeve of mine in any type of art, especially installation art or sculpture where a clear and simple point can be quite literally expanded into a elaborate and overbuilt set that doesn't add to the impact. Or worse, obfuscates the original idea.
But then there's an explorative type of art where the method and the process is much more meaningful than the insight or punchline that the novel may have been built around. The Waves by Virginia Woolf, for example.
(edited to use my words more good)
One year I decided to blow through as many books as I could, and the next year I took my time and re-read the interesting ones much more closely. If I hadn't spend the previous year getting through as many as I could, I wouldn't have found even half of the interesting ones.
There is a middle ground between consuming as much as possible and carefully reading every book.