Peirce often uses the musical metaphor ...
Thought is a thread of melody running through the succession of our sensations” (CP 5.395) Le sam. 30 janv. 2021 à 04:39, John F. Sowa <s...@bestweb.net> a écrit : > Gary R, > > My remarks were ad rem, not ad hominem. Mathematics is like music. A > mathematician or a musician thinks only in terms of the patterns, the > operations on those patterns, and their relationship to whatever notation > is used to represent them. > > The words used to describe those patterns are useful for communication > among teachers, students, and critics. But those words are absent from the > minds of the artists (musical or mathematical) who are imagining and > creating novel patterns. > > Peirce was a great mathematical/logical artist. In June 1911, he had a > new insight into the melodies of logic. Any logician can "hear" an > exciting new melody in R670 and L231 that was not present in R669 or the > Monist article of 1906. Peirce didn't have to write a "note to self" about > the change. He just did it. And any logician can "hear" it. > > But I realize that many people can't feel or hear the difference. I plan > to post the 1906 version and the 1911 version on my web site, and I'll > point out exactly where the differences occur and their implications. > > I'll post that in the next two days. And I won't refer to any other > person's comments or opinions on the subject. > > Meanwhile, I recommend the following slides and their quotations of > mathematicians, logicians, and linguists about their subject: > http://jfsowa.com/talks/ppe.pdf . The application of Peirce's EGs to > Euclidean diagrams is easy with the 1911 EGs, but not with the earlier > versions. That application is one of the strongest arguments in support of > Peirce's claim that EGs represent "the action of the mind in thought." > > John >
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