The history of radio astronomy has been a series of discoveries, mostly serendipitous, using a new instrument, or using an old instrument in a new unintended way. Theoretical predictions have had little influence, and in some cases actually delayed the discovery by discouraging observers. Many of the key transformational discoveries were made while investigating other areas of astronomy; others came as a result of commercial and military pursuits unrelated to astronomy. We discuss how the transformational serendipitous discoveries in radio astronomy depended on luck, age, education, and the institutional affiliation of the scientists involved, and we comment on the effect of peer review in the selection of research grants, observing time, and the funding of new telescopes, and speculate on its constraint to new discoveries. We discuss the decrease in the rate of new discoveries since the Golden Years of the 1960s and 1970s and the evolution of radio astronomy to a big science user oriented discipline. We conclude with a discussion of the impact of computers in radio astronomy and speculations on the potential for future discoveries in radio astronomy – the unknown unknowns.

The introductory chapter places radio astronomy in the context of the broader astronomical environment. The transformational discoveries made by radio astronomy and the circumstances surrounding these discoveries are summarized with an emphasis on the role of serendipity and its impact on science.

Understanding serendipity from a trajectory perspective is crucial because serendipitous findings bend the arc of progress, leading us down unexpected paths - in the process changing the direction and rate of research pursuits. Many imagine the classic "Eureka!" moments being a demonstration of such serendipity in real life, although this might be overly simplistic. There are many processes that occur before and after making an unexpected observation that, in hindsight, set the stage for these observations to become discoveries of use. Chapter 18 explores how the serendipitous discoveries of Helicobacter pylori and many modern psychotherapeutic drugs came to be, and discusses how we can more systematically cultivate conditions that allow serendipitous findings to occur.

As a theatrical art form, puppetry has existed for as long as 4,000 years and has been traced to Europe, Asia, and Africa. Even now, puppetry continues to evolve – from representational to abstract and from traditional to avant-garde. One of today’s leading puppeteers is Basil Twist, who excels in both traditional and avant-garde performance. Twist vaulted to fame in 1998 largely because of his breakthrough performance of Symphonie Fantastique. That work propelled his receipt of a 2015 MacArthur Foundation Fellowship – the so-called genius award. Twist’s Symphonie Fantastique is an amazing assemblage of water, feathers, fabric, classical music, and dramatic lighting. How did the piece come to be? Was it the result of meticulous and foresighted planning? Or was its origin more improvisational and experimental? The answers shed fresh light on the meaning of creative genius and on the nature of puppet art.

In my book, I explore the origin and evolution of a variety of behavioral innovations – including the Butterfly Stroke, the High Five, and the Heimlich Maneuver – which appear to have been ingeniously and foresightfully designed. More commonly, however, these creative acts have actually arisen “as if by design.” This revelation requires a much more thorough look into the histories of these innovations in order to better understand the very nature of behavioral creativity. What emerges is an intricate web of causation involving three main factors: context, consequence, and coincidence. By concentrating on the process rather than the product of innovation, I elevate behavior to its proper place – at the very center of creative human endeavor – for it is truly behavior that produces the innumerable innovations that have captivated thinkers’ imagination. Those most splendid theories, goods, and gadgets would never have come into being without the behaviors of their inventors.

In my book, I explore the origin and evolution of a variety of behavioral innovations – including the Butterfly Stroke, the High Five, and the Heimlich Maneuver – which appear to have been ingeniously and foresightfully designed. More commonly, however, these creative acts have actually arisen “as if by design.” This revelation requires a much more thorough look into the histories of these innovations in order to better understand the very nature of behavioral creativity. What emerges is an intricate web of causation involving three main factors: context, consequence, and coincidence. By concentrating on the process rather than the product of innovation, I elevate behavior to its proper place – at the very center of creative human endeavor – for it is truly behavior that produces the innumerable innovations that have captivated thinkers’ imagination. Those most splendid theories, goods, and gadgets would never have come into being without the behaviors of their inventors.