哪儿可以下载有关费曼的书 发现的乐趣的英文原版 The Pleasure of Finding Thing out 格式不限 要完全版本 25
哪儿可以下载有关费曼的书发现的乐趣的英文原版的电子版ThePleasureofFindingThingout格式不限要完全版本的到处都找不到英文原版的电子版英文完全版电子...
哪儿可以下载有关费曼的书 发现的乐趣的英文原版的电子版 The Pleasure of Finding Thing out 格式不限 要完全版本的 到处都找不到英文原版的电子版
英文完全版电子版书 格式不限 谢谢 其他的不用 展开
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The Pleasure of Finding Things Out----Feynman
This is the edited transcript of an interview with Feynman made for the BBC television program Horizon in 1981, shown in the United States as an episode of Nova. Feynman had most of his life behind him by this time (he died in 1988), so he could reflect on his experiences and accomplishments with the perspective not often attainable by a younger person. The result is a candid, relaxed, and very personal discussion on many topics close to Feynman's heart: why knowing merely the name of something is the same as not knowing anything at all about it; how he and his fellow atomic scientists of the Manhattan Project could drink and revel in the success of the terrible weapon they had created while on the other side of the world in Hiroshima thousands of their fellow human beings were dead or dying from it; and why Feynman could just as well have gotten along without a Nobel Prize.
The Beauty of a Flower
I have a friend who's an artist and he's sometimes taken a view which I don't agree with very well. He'll hold up a flower and say, "Look how beautiful it is," and I'll agree, I think. And he says—"you see, I as an artist can see how beautiful this is, but you as a scientist, oh, take this all apart and it becomes a dull thing." And I think that he's kind of nutty. First of all, the beauty that he sees is available to other people and to me, too, I believe, although I might not be quite as refined aesthetically as he is; but I can appreciate the beauty of a flower. At the same time I see much more about the flower than he sees. I can imagine the cells in there, the complicated actions inside which also have a beauty. I mean it's not just beauty at this dimension of one centimeter, there is also beauty at a smaller dimension, the inner structure. Also the processes, the fact that the colors in the flower evolved in order to attract insects to pollinate it is interesting—it means that insects can see the color. It adds a question: Does this aesthetic sense also exist in the lower forms? Why is it aesthetic? All kinds of interesting questions which shows that a science knowledge only adds to the excitement and mystery and the awe of a flower. It only adds; I don't understand how it subtracts.
Avoiding Humanities
I've always been very one-sided about science and when I was younger I concentrated almost all my effort on it. I didn't have time to learn and I didn't have much patience with what's called the humanities, even though in the university there were humanities that you had to take. I tried my best to avoid somehow learning anything and working at it. It was only afterwards, when I got older, that I got more relaxed, that I've spread out a little bit. I've learned to draw and I read a little bit, but I'm really still a very one-sided person and I don't know a great deal. I have a limited intelligence and I use it in a particular direction.
Tyrannosaurus in the Window
We had the Encyclopaedia Britannica at home and even when I was a small boy [my father] used to sit me on his lap and read to me from the Encyclopaedia Britannica, and we would read, say, about dinosaurs and maybe it would be talking about the brontosaurus or something, or the tyrannosaurus rex, and it would say something like, "This thing is twenty-five feet high and the head is six feet across," you see, and so he'd stop all this and say, "Let's see what that means. That would mean that if he stood in our front yard he would be high enough to put his head through the window but not quite because the head is a little bit too wide and it would break the window as it came by."
Everything we'd read would be translated as best we could into some reality and so I learned to do that—everything that I read I try to figure out what it really means, what it's really saying by translating and so (LAUGHS) I used to read the Encyclopaedia when I was a boy but with translation, you see, so it was very exciting and interesting to think there were animals of such magnitude—I wasn't frightened that there would be one coming in my window as a consequence of this, I don't think, but I thought that it was very, very interesting, that they all died out and at that time nobody knew why.
We used to go to the Catskill Mountains. We lived in New York and the Catskill Mountains was the place where people went in the summer; and the fathers—there was a big group of people there but the fathers would all go back to New York to work during the week and only come back on the weekends. When my father came he would take me for walks in the woods and tell me various interesting things that were going on in the woods—which I'll explain in a minute—but the other mothers seeing this, of course, thought this was wonderful and that the other fathers should take their sons for walks, and they tried to work on them but they didn't get anywhere at first and they wanted my father to take all the kids, but he didn't want to because he had a special relationship with me—we had a personal thing together—so it ended up that the other fathers had to take their children for walks the next weekend, and the next Monday when they were all back to work, all the kids were playing in the field and one kid said to me, "See that bird, what kind of a bird is that?" And I said, "I haven't the slightest idea what kind of a bird it is." He says, "It's a brown throated thrush," or something, "Your father doesn't tell you anything." But it was the opposite: my father had taught me. Looking at a bird he says, "Do you know what that bird is? It's a brown throated thrush; but in Portuguese it's a ... in Italian a ...," he says "in Chinese it's a ..., in Japanese a ...," etcetera. "Now," he says, "you know in all the languages you want to know what the name of that bird is and when you've finished with all that," he says, "you'll know absolutely nothing whatever about the bird. You only know about humans in different places and what they call the bird. Now," he says, "let's look at the bird."
He had taught me to notice things and one day when I was playing with what we call an express wagon, which is a little wagon which has a railing around it for children to play with that they can pull around. It had a ball in it—I remember this—it had a ball in it, and I pulled the wagon and I noticed something about the way the ball moved, so I went to my father and I said, "Say, Pop, I noticed something: When I pull the wagon the ball rolls to the back of the wagon, and when I'm pulling it along and I suddenly stop, the ball rolls to the front of the wagon," and I says, "why is that?" And he said, "That nobody knows," he said. "The general principle is that things that are moving try to keep on moving and things that are standing still tend to stand still unless you push on them hard." And he says, "This tendency is called inertia but nobody knows why it's true." Now that's a deep understanding—he doesn't give me a name, he knew the difference between knowing the name of something and knowing something, which I learnt very early. He went on to say, "If you look close you'll find the ball does not rush to the back of the wagon, but it's the back of the wagon that you're pulling against the ball; that the ball stands still or as a matter of fact from the friction starts to move forward really and doesn't move back." So I ran back to the little wagon and set the ball up again and pulled the wagon from under it and looking sideways and seeing indeed he was right—the ball never moved backwards in the wagon when I pulled the wagon forward. It moved backward relative to the wagon, but relative to the sidewalk it was moved forward a little bit, it's just [that] the wagon caught up with it. So that's the way I was educated by my father, with those kinds of examples and discussions, no pressure, just lovely interesting discussions.
Algebra for the Practical Man
My cousin, at that time, who was three years older, was in high school and was having considerable difficulty with his algebra and had a tutor come, and I was allowed to sit in a corner while (LAUGHS) the tutor would try to teach my cousin algebra, problems like 2x plus something. I said to my cousin then, "What're you trying to do?" You know, I hear him talking about x. He says, "What do you know—2x + 7 is equal to 15," he says "and you're trying to find out what x is." I says, "You mean 4." He says, "Yeah, but you did it with arithmetic, you have to do it by algebra," and that's why my cousin was never able to do algebra, because he didn't understand how he was supposed to do it. There was no way. I learnt algebra fortunately by not going to school and knowing the whole idea was to find out what x was and it didn't make any difference how you did it—there's no such thing as, you know, you do it by arithmetic, you do it by algebra—that was a false thing that they had invented in school so that the children who have to study algebra can all pass it. They had invented a set of rules which if you followed them without thinking could produce the answer: subtract 7 from both sides, if you have a multiplier divide both sides by the multiplier and so on, and a series of steps by which you could get the answer if you didn't understand what you were trying to do.
There was a series of math books, which started Arithmetic for the Practical Man, and then Algebra for the Practical Man, and then Trigonometry for the Practical Man, and I learned trigonometry for the practical man from that. I soon forgot it again because I didn't understand it very well but the series was coming out, and the library was going to get Calculus for the Practical Man and I knew by this time by reading the Encyclopaedia that calculus was an important subject and it was an interesting one and I ought to learn it. I was older now, I was perhaps thirteen; and then the calculus book finally came out and I was so excited and I went to the library to take it out and she looks at me and she says, "Oh, you're just a child, what are you taking this book out for, this book is a [book for adults]." So this was one of the few times in my life I was uncomfortable and I lied and I said it was for my father, he selected it. So I took it home and I learnt calculus from it and I tried to explain it to my father and he'd start to read the beginning of it and he found it confusing and it really bothered me a little bit. I didn't know that he was so limited, you know, that he didn't understand, and I thought it was relatively simple and straightforward and he didn't understand it. So that was the first time I knew I had learnt more in some sense than he.
This is the edited transcript of an interview with Feynman made for the BBC television program Horizon in 1981, shown in the United States as an episode of Nova. Feynman had most of his life behind him by this time (he died in 1988), so he could reflect on his experiences and accomplishments with the perspective not often attainable by a younger person. The result is a candid, relaxed, and very personal discussion on many topics close to Feynman's heart: why knowing merely the name of something is the same as not knowing anything at all about it; how he and his fellow atomic scientists of the Manhattan Project could drink and revel in the success of the terrible weapon they had created while on the other side of the world in Hiroshima thousands of their fellow human beings were dead or dying from it; and why Feynman could just as well have gotten along without a Nobel Prize.
The Beauty of a Flower
I have a friend who's an artist and he's sometimes taken a view which I don't agree with very well. He'll hold up a flower and say, "Look how beautiful it is," and I'll agree, I think. And he says—"you see, I as an artist can see how beautiful this is, but you as a scientist, oh, take this all apart and it becomes a dull thing." And I think that he's kind of nutty. First of all, the beauty that he sees is available to other people and to me, too, I believe, although I might not be quite as refined aesthetically as he is; but I can appreciate the beauty of a flower. At the same time I see much more about the flower than he sees. I can imagine the cells in there, the complicated actions inside which also have a beauty. I mean it's not just beauty at this dimension of one centimeter, there is also beauty at a smaller dimension, the inner structure. Also the processes, the fact that the colors in the flower evolved in order to attract insects to pollinate it is interesting—it means that insects can see the color. It adds a question: Does this aesthetic sense also exist in the lower forms? Why is it aesthetic? All kinds of interesting questions which shows that a science knowledge only adds to the excitement and mystery and the awe of a flower. It only adds; I don't understand how it subtracts.
Avoiding Humanities
I've always been very one-sided about science and when I was younger I concentrated almost all my effort on it. I didn't have time to learn and I didn't have much patience with what's called the humanities, even though in the university there were humanities that you had to take. I tried my best to avoid somehow learning anything and working at it. It was only afterwards, when I got older, that I got more relaxed, that I've spread out a little bit. I've learned to draw and I read a little bit, but I'm really still a very one-sided person and I don't know a great deal. I have a limited intelligence and I use it in a particular direction.
Tyrannosaurus in the Window
We had the Encyclopaedia Britannica at home and even when I was a small boy [my father] used to sit me on his lap and read to me from the Encyclopaedia Britannica, and we would read, say, about dinosaurs and maybe it would be talking about the brontosaurus or something, or the tyrannosaurus rex, and it would say something like, "This thing is twenty-five feet high and the head is six feet across," you see, and so he'd stop all this and say, "Let's see what that means. That would mean that if he stood in our front yard he would be high enough to put his head through the window but not quite because the head is a little bit too wide and it would break the window as it came by."
Everything we'd read would be translated as best we could into some reality and so I learned to do that—everything that I read I try to figure out what it really means, what it's really saying by translating and so (LAUGHS) I used to read the Encyclopaedia when I was a boy but with translation, you see, so it was very exciting and interesting to think there were animals of such magnitude—I wasn't frightened that there would be one coming in my window as a consequence of this, I don't think, but I thought that it was very, very interesting, that they all died out and at that time nobody knew why.
We used to go to the Catskill Mountains. We lived in New York and the Catskill Mountains was the place where people went in the summer; and the fathers—there was a big group of people there but the fathers would all go back to New York to work during the week and only come back on the weekends. When my father came he would take me for walks in the woods and tell me various interesting things that were going on in the woods—which I'll explain in a minute—but the other mothers seeing this, of course, thought this was wonderful and that the other fathers should take their sons for walks, and they tried to work on them but they didn't get anywhere at first and they wanted my father to take all the kids, but he didn't want to because he had a special relationship with me—we had a personal thing together—so it ended up that the other fathers had to take their children for walks the next weekend, and the next Monday when they were all back to work, all the kids were playing in the field and one kid said to me, "See that bird, what kind of a bird is that?" And I said, "I haven't the slightest idea what kind of a bird it is." He says, "It's a brown throated thrush," or something, "Your father doesn't tell you anything." But it was the opposite: my father had taught me. Looking at a bird he says, "Do you know what that bird is? It's a brown throated thrush; but in Portuguese it's a ... in Italian a ...," he says "in Chinese it's a ..., in Japanese a ...," etcetera. "Now," he says, "you know in all the languages you want to know what the name of that bird is and when you've finished with all that," he says, "you'll know absolutely nothing whatever about the bird. You only know about humans in different places and what they call the bird. Now," he says, "let's look at the bird."
He had taught me to notice things and one day when I was playing with what we call an express wagon, which is a little wagon which has a railing around it for children to play with that they can pull around. It had a ball in it—I remember this—it had a ball in it, and I pulled the wagon and I noticed something about the way the ball moved, so I went to my father and I said, "Say, Pop, I noticed something: When I pull the wagon the ball rolls to the back of the wagon, and when I'm pulling it along and I suddenly stop, the ball rolls to the front of the wagon," and I says, "why is that?" And he said, "That nobody knows," he said. "The general principle is that things that are moving try to keep on moving and things that are standing still tend to stand still unless you push on them hard." And he says, "This tendency is called inertia but nobody knows why it's true." Now that's a deep understanding—he doesn't give me a name, he knew the difference between knowing the name of something and knowing something, which I learnt very early. He went on to say, "If you look close you'll find the ball does not rush to the back of the wagon, but it's the back of the wagon that you're pulling against the ball; that the ball stands still or as a matter of fact from the friction starts to move forward really and doesn't move back." So I ran back to the little wagon and set the ball up again and pulled the wagon from under it and looking sideways and seeing indeed he was right—the ball never moved backwards in the wagon when I pulled the wagon forward. It moved backward relative to the wagon, but relative to the sidewalk it was moved forward a little bit, it's just [that] the wagon caught up with it. So that's the way I was educated by my father, with those kinds of examples and discussions, no pressure, just lovely interesting discussions.
Algebra for the Practical Man
My cousin, at that time, who was three years older, was in high school and was having considerable difficulty with his algebra and had a tutor come, and I was allowed to sit in a corner while (LAUGHS) the tutor would try to teach my cousin algebra, problems like 2x plus something. I said to my cousin then, "What're you trying to do?" You know, I hear him talking about x. He says, "What do you know—2x + 7 is equal to 15," he says "and you're trying to find out what x is." I says, "You mean 4." He says, "Yeah, but you did it with arithmetic, you have to do it by algebra," and that's why my cousin was never able to do algebra, because he didn't understand how he was supposed to do it. There was no way. I learnt algebra fortunately by not going to school and knowing the whole idea was to find out what x was and it didn't make any difference how you did it—there's no such thing as, you know, you do it by arithmetic, you do it by algebra—that was a false thing that they had invented in school so that the children who have to study algebra can all pass it. They had invented a set of rules which if you followed them without thinking could produce the answer: subtract 7 from both sides, if you have a multiplier divide both sides by the multiplier and so on, and a series of steps by which you could get the answer if you didn't understand what you were trying to do.
There was a series of math books, which started Arithmetic for the Practical Man, and then Algebra for the Practical Man, and then Trigonometry for the Practical Man, and I learned trigonometry for the practical man from that. I soon forgot it again because I didn't understand it very well but the series was coming out, and the library was going to get Calculus for the Practical Man and I knew by this time by reading the Encyclopaedia that calculus was an important subject and it was an interesting one and I ought to learn it. I was older now, I was perhaps thirteen; and then the calculus book finally came out and I was so excited and I went to the library to take it out and she looks at me and she says, "Oh, you're just a child, what are you taking this book out for, this book is a [book for adults]." So this was one of the few times in my life I was uncomfortable and I lied and I said it was for my father, he selected it. So I took it home and I learnt calculus from it and I tried to explain it to my father and he'd start to read the beginning of it and he found it confusing and it really bothered me a little bit. I didn't know that he was so limited, you know, that he didn't understand, and I thought it was relatively simple and straightforward and he didn't understand it. So that was the first time I knew I had learnt more in some sense than he.
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