"After more thought I decided that since I was trying to teach “style” of thinking in science and engineering, and “style” is an art, I should therefore copy the methods of teaching used for the other arts – once the fundamentals have been learned. How to be a great painters cannot be taught in words; one learns by trying many different approaches that seem to surround the subject. Art teachers usually let the advanced student paint, and then make suggestions on how they would have done it, or what might also be tried, more or less as the points arise in the student’s head – which is where the learning is supposed to occur! In this series of lectures, I try to communicate to students what cannot be said in words – the essence of style in science and engineering. I have adopted a loose organization with some repetition since this often occurs in the lectures. There are, therefore, digressions and stories – with some told in two different places – all in the somewhat rambling, informal style typical of lectures. I have used the “story” approach, often emphasizing the initial part of the discovery, because I firmly believe in Pasteur’s remark, “Luck favors the prepared mind.” In this way I can illustrate how the individual’s preparation before encountering the problem can often lead to recognition, formulation, and solution. Great results in science and engineering are “bunched” in the same person too often for success to be a matter of random luck. Teachers should prepare the student for the student’s future, not for the teacher’s past…Therefore, style of thinking is the center of this course. The subtitle of the book, Learning to Learn, is the main solution I offer to help students cope with the rapid changes they will have to endure in their fields. The course centers around how to look at and think about knowledge, and it supplies some historical perspective that might be useful. This course is mainly personal experiences I have had and digested, at least to some extent. Naturally one tends to remember one’s successes and forget lesser events, but I recount a number of my spectacular failures as clear examples of what to avoid. I have found that the personal story is far, far more effective than the impersonal one; hence there is necessarily an aura of “bragging” in the book that is unavoidable. Let me repeat what I earlier indicated. Apparently an “art” – which almost by definition cannot be put into words – is probably best communicated by approaching it from many sides and doing so repeatedly, hoping thereby students will finally mater enough of the art, or if you wish, style, to significantly increase their future contributions to society. A totally different description of the course is: it covers all kinds of things that could not find their proper place in the standard curriculum."
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