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Quote by Siddhartha Mukherjee

“Vogelstein’s challenge was that of the landscape artist: How does one convey the gestalt of a territory (in this case, the “territory” of a genome) in a few broad strokes of a brush? How can a picture describe the essence of a place?Vogelstein’s answer to these questions borrows beautifully from an insight long familiar to classical landscape artists: negative space can be used to convey expanse, while positive space conveys detail. To view the landscape of the cancer genome panoramically, Vogelstein splayed out the entire human genome as if it were a piece of thread zigzagging across a square sheet of paper. (Science keeps eddying into its past: the word mitosis -- Greek for "thread" -- is resonant herw again.)”

Quote by Siddhartha Mukherjee

Book:The Emperor of All Maladies: A Biography of Cancer
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Work

The Emperor of All Maladies: A Biography of Cancer

This comprehensive biography delves into the origins, development, and treatment of cancer, offering a historical and scientific perspective on one of the most significant health challenges of our time. more

Author

Siddhartha Mukherjee
Siddhartha Mukherjee

Siddhartha Mukherjee is a distinguished physician and oncologist, born in 1970. He has made substantial contributions to cancer research and has been recognized with numerous awards, including the Pulitzer Prize for General Non-Fiction for his book 'The Emperor of All Maladies: A Biography of Cancer'. more

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“The ideal of explication differs not only from previous philosophy, and from Carnap’s own previous framework of rational reconstruction, but also from most present analytic philosophy. It differs from Quine’s influential programme, for instance, encapsulated in Neurath’s metaphor of reconstructing the boat of our conceptual scheme on the open sea, without being able to put it in dry-dock and reconstruct it from new materials. In Carnap’s framework, our collective mental life is not – to adopt the metaphor – all in the same boat. It consists rather of a give and take between two kinds of communicative devices that operate in different ways. Carnap’s boat is only one of these two parts, not both. It is the medium of action and practical decisions, in which vague concepts of ordinary language have a continuing, perhaps essential, role. This is not, in Carnap’s terms, a proper linguistic ‘framework’ at all. It is a medium not for the pursuit of truth but for getting things done, and it is well adapted to this purpose. To improve it further, we chip away at it and replace its components, a few at a time, with better ones – and this reconstruction, it is true, we carry out at sea. But the better components we acquire from the ports we call at, where we go shopping for proper linguistic frameworks. We take on board better materials and better navigational instruments that help us to reach whatever ports we hope to visit in future – where we can again bring on new and improved materials and instruments. Sometimes, the improved instruments will so influence our knowledge of where we are going that the whole plan of the journey will be revised, and we will change course. But the decision what port to head for next we have to make on board, in our pragmatic vernacular, with whatever improvements we have incorporated up to that point.”

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“Instead of The Closet, I’d like to propose a more humane metaphor. What if we talk about queer/trans people “coming out of our shells”? When you think about it, us queers are a lot like garden snails anyway. We love flowers. We have beautiful, curly shells. We are slimy and understand the power of proper lubrication. We leave a shiny, glittering trail wherever we go. And did you know that most snails are gender-neutral and play both “male” and “female” roles in procreation? That many snails change gender multiple times throughout the course of their lives?”

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Book:Cactus: Life Story and Fate, With an Unexpected Twist
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