"The Reed-Kellogg diagram is a tool of the classroom and of the textbooks that codify the rules for its production. But grammar textbooks share a problem similar to the one Thomas Kuhn noted for science textbooks: they tend to efface the history of their subject. Indeed, grammar textbooks are far more ahistorical that science textbooks. The average science textbook will contain some history, however Whiggish. There will be at least a cursory mention of the scientists who formulated the theories under discussion, some suggestion that scientific knowledge is subject to change and accretion. Grammar, however, comes to students as an abstract whole. The sources from which the textbook authors derived their accounts normally go unacknowledged. There is no sense of grammar as a theory—or, more precisely, a constellation of competing theories—with its own intellectual history."
(Karl Hagen, 17 October 2015)
"Mop-ping-up operations are what engage most scientists throughout their careers. They constitute what I am here calling normal science. Closely examined, whether historically or in the contemporary laboratory, that enterprise seems an attempt to force nature into the preformed and relatively inflexible box that the paradigm supplies. No part of the aim of normal science is to call forth new sorts of phenomena; indeed those that will not fit the box are often not seen at all. Nor do scientists normally aim to invent new theories, and they are often intolerant of those invented by others. Instead, normal-scientific research is directed to the articulation of those phenomena and theories that the paradigm already supplies.
Perhaps these are defects. The areas investigated by normal science are, of course, minuscule; the enterprise now under discussion has drastically restricted vision. But those restrictions, born from confidence in a paradigm, turn out to be essential to the development of science. By focusing attention upon a small range of relatively esoteric problems, the paradigm forces scientists to investigate some part of nature in a detail and depth that would otherwise be unimaginable. And normal science possesses a built-in mechanism that ensures the relaxation of the restrictions that bound research whenever the paradigm from which they derive ceases to function effectively. At that point scientists begin to behave differently, and the nature of their research problems changes. In the interim, however, during the period when the paradigm is successful, the profession will have solved problems that its members could scarcely have imagined and would never have undertaken without commitment to the paradigm."
(Thomas Kuhn, 1962, Vol. II, No. 2, p.24)
Thomas S. Kuhn (1962). "The Structure of Scientific Revolutions".
"Until recently, the field of design was an adjunct to art and craft. With the transformation of design into an industrial discipline come responsibilities that the field of design studies has only recently begun to address.
This transformation means that design is becoming a generalizable discipline that may as readily be applied to processes, media interfaces or information artefacts as to tools, clothing, furniture or advertisements. To understand design as a discipline that can function within any of these frames means developing a general theory of design. This general theory should support application theories and operational programmes. Moving from a general theory of design to the task of solving problems involves a significantly different mode of conceptualization and explicit knowledge management than adapting the tacit knowledge of individual design experience.
So far, most design theories involve clinical situations or micro–level grounded theories developed through induction. This is necessary, but it is not sufficient for the kinds of progress we need.
In the social sciences, grounded theory has developed into a robust and sophisticated system for generating theory across levels. A 'grounded' theory is an inductive theory emerging or rising from the ground of direct, empirical experience. These theories ultimately lead to larger ranges of understanding, and the literature of grounded theory is rich in discussions of theory construction and theoretical sensitivity (Glaser 1978, 1992; Glaser and Strauss 1967; Strauss 1991; Strauss and Corbin 1990, 1994).
One of the deep problems in design research is the failure to engage in grounded theory, developing theory out of practice. Instead, many designers confuse practice with research. Rather than developing theory from practice through articulation and inductive inquiry, some designers mistakenly argue that practice is research. From this, they claim that practicebased research is itself a form of theory construction."
(Ken Friedman, 2008, pp.153–154)
Ken Friedman (2008). "Research into, by and for design." Journal of Visual Arts Practice Volume 7 Number 2. Intellect Ltd. Article. English Language. doi: 10.1386/jvap.7.2.153/1
"The beacons of the philosophy of science include Karl Popper, Thomas Kuhn, Paul Feyerabend, and Bruno Latour who refute scientism from various angles: arguing that scientific observations are theory and value laden, science takes place within communities, science can be anarchic, etc, all suggesting that science is as dependent on processes of interpretation, community, and tradition as any aspect of the humanities."
(Richard Coyne, 2011)
Excerpted from a letter to the editor, first published in ARQ: Richard Coyne (2011). What's science got to do with it?. Architectural Research Quarterly, 15 , pp 205–206, doi:10.1017/S135913551100073X
"Melvyn Bragg and his guests discuss the meaning and value of culture in the twenty–first century. In a programme recorded in front of an audience at Newcastle's Literary and Philosophical Society, Melvyn and the panel consider whether Matthew Arnold's assessment of culture as 'the great help out of our present difficulties' still has any relevance, almost 150 years after it was written."
(Melvyn Bragg, 2013)
"The Value of Culture: Two Cultures", Radio broadcast, Episode 5 of 5, Duration: 42 minutes, First broadcast: Friday 04 January 2013, Presenter/Melvyn Bragg, Producer/Thomas Morris for the BBC Radio 4, UK.
Photo credit: J. Russell, Strobel Lab, Yale University 2009