Why Most Published Research Findings Are False A Research Paper by John P.A. Ioannidis journals.plos.org There is increasing concern that most current published research findings are false. The probability that a research claim is true may depend on study power and bias, the number of other studies on the same question, and, importantly, the ratio of true to no relationships among the relationships probed in each scientific field. In this framework, a research finding is less likely to be true when the studies conducted in a field are smaller; when effect sizes are smaller; when there is a greater number and lesser preselection of tested relationships; where there is greater flexibility in designs, definitions, outcomes, and analytical modes; when there is greater financial and other interest and prejudice; and when more teams are involved in a scientific field in chase of statistical significance. researchsciencetruth
Why Sketch? An Essay from Field Notes on Science and Nature by Jenny Keller What you have observed closelyA single imageParallel refinementColor reproductionThe negative spaces+4 More Conversational drawingThe Beauty of the Overlooked
What you have observed closely Drawing requires that you pay attention to every detail—even the seemingly unimportant ones. In creating an image (no matter how skillfully), the lines and tones on the paper provide ongoing feedback as to what you have observed closely and what you have not. drawingdetailsseeing
A single image Scientific illustrations can achieve certain things that photographs cannot. A good illustration can portray difficult-to-photograph or rarely witnessed events. It can incorporate everything that’s important into one single image or show a special view of a subject. It would be next to impossible to observe, in nature, a dozen different aquatic species in their natural habitat, posing perfectly together and all in focus at one time—but such a scene can easily come to life in an illustration. notetaking
Parallel refinement My studies of live animals usually begin with a series of quick drawings, all on a single page. When the subject changes position—which it pretty much always does—I abandon the first sketch and start a new one. Continuing on in this way, the page fills with mostly unfinished squiggles until the animal eventually resumes one of its earlier poses. If that happens, I add as much detail or refinement to one of the easier sketches as I can. While this is all going on, I also jot down written notes that help explain what I observed and what seemed significant.
Color reproduction In-person, live observation of color is a practice for which I feel there is no adequate substitute. Photographs are often imprecise in reproducing color. perception
The negative spaces Focus on the negative spaces surrounding the object to give yourself a fresh perspective on the form. space
Hues subdued Colors in nature are, in general, more subdued than what comes directly from the pencil or the tube of paint. Greens, especially, tend to be a lot browner than we expect. The palette of natureColors in nature color
Unfinished Leave the drawing unfinished. Record as much information as you need, but don’t draw any forms, details, or colors that are merely repetitive. The back and front of a representative flower on a plant, for example, or half of a bilaterally symmetrical animal may be all that’s necessary. research