“Normal science, the puzzle-solving activity we have just examined, is a highly cumulative enterprise, eminently successful in its aim, the steady extension of the scope and precision of scientific knowledge. In all these respects it fits with great precision the most usual image of scientific work. Yet one standard product of the scientific enterprise is missing. Normal science does not aim at novelties of fact or theory and, when successful, finds none.”

Source: The Structure of Scientific Revolutions (1962), VI. Anomaly and the Emergence of Scientific Discoveries, p. 52

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Thomas Kuhn 27
American historian, physicist and philosopher 1922–1996

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“There have been applied sciences throughout the ages. … However this so-called practice was not much more than paper in nearly all of these cases, and the various applied sciences were only lacking a bagatelle, namely proper scientific practice. The applied sciences show the application of theoretic doctrines in existing events; but that is precisely what it does, it merely shows. Whereas the scientific practice autonomously puts to use these theories.”

Christian Doppler (1803–1853) mathematician, physicist

in his review of Joseph Beskiba's textbook, published in the Österreichische Blätter für Literatur und Kunst (September 7, 1844), as quoted by [Peter Schuster, Moving the stars: Christian Doppler, his life, his works and principle, and the world after, Living edition, 2005, 3901585052, 78]

“The issue of 'science' does not intrude itself directly upon the occasion of the performance of a musical work, at least a non-electronically produced work, since—as has been said—there is at least a question as to whether the question as to whether musical composition is to be regarded as a science or not is indeed really a question; but there is no doubt that the question as to whether musical discourse or—more precisely—the theory of music should be subject to the methodological criteria of scientific method and the attendant scientific language is a question, except that the question is really not the normative one of whether it 'should be' or 'must be,' but the factual one that it is, not because of the nature of musical theory, but because of the nature and scope of scientific method and language, whose domain of application is such that if it is not extensible to musical theory, then musical theory is not a theory in any sense in which the term ever has been employed. This should sound neither contentious nor portentous, rather it should be obvious to the point of virtual tautology.”

Milton Babbitt (1916–2011) American composer

From Milton Babbitt, "The Structure and Function of Musical Theory", College Music Symposium, Vol. 5 (Fall 1965), pp. 49-60; reprinted in Perspectives on Contemporary Music Theory, ed. Benjamin Boretz and Edward T. Cone (New York: Norton, 1972), pp. 10-21, ISBN 0393005488, and in Milton Babbitt, The Collected Essays of Milton Babbitt, ed. Stephen Peles, with Stephen Dembski, Andrew Mead, and Joseph N. Straus (Princeton: Princeton University Press, 2003), pp. 191-201, ISBN 0691089663.

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