[peirce-l] Re: No mental eyes of erst e'er hads't thou shone

[csthorne]

"One of the great poetic achievements of the 19th century"? Surely you jest, 
sir. More appropriate descriptive adjectives might be: labored; plodding; 
syntactically crippled; full of pretense. A couple of lines -- "Thy entailed 
gnomon had not splayed as prone" and "Pale as the pallors tip this pile o' 
pillow" read like they were written by the Monty Python Troupe. This poem is 
not just bad, it is hilariously, over-the-top bad.
Creath Thorne 








Gary Richmond writes: 


No mental eyes of erst e'er hads't thou shone;
Thy entailed gnomon had not splayed as prone;
Not, at all, fact borne ideas sprayed as grown,
Nor Man as halo'd tower of nature known. 


Thy fearful lift's bed rock stepped arbor type--
Sight bearing wake's upholding spinelike gripe,
In the last inhauling hall o' the endstead, down
Where glues the gloomy swipe of night's tar frown 


And stays the rathe of day's eclipse, where lone,
The moon gropes round in purblind monotone,
For there her tender stars are dark as stone--
Now from the indrawn earth's sky-gauging billow 


Sees out about, through art tied back, they cone,
Whose spread of insight beam far round out-thrown
With wake each slippery rising peak doth crown
Pale as the pallors tip this pile o' pillow. 

Charles S. Peirce 

(in Joseph Brent, Charles Sanders Peirce: A Life) 

Brent (330) says this poem "is interesting only because Peirce wrote it" 
while I consider it one of the great poetic achievements of the 19th 
century. 

Gary 


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[peirce-l] Re: No mental eyes of erst e'er hads't thou shone

[Gary Richmond]

Thank you for your opinion.

Gary

csthorne wrote:



"One of the great poetic achievements of the 19th century"? Surely you 
jest, sir. More appropriate descriptive adjectives might be: labored; 
plodding; syntactically crippled; full of pretense. A couple of lines 
-- "Thy entailed gnomon had not splayed as prone" and "Pale as the 
pallors tip this pile o' pillow" read like they were written by the 
Monty Python Troupe. This poem is not just bad, it is hilariously, 
over-the-top bad.

Creath Thorne






Gary Richmond writes:


No mental eyes of erst e'er hads't thou shone;
Thy entailed gnomon had not splayed as prone;
Not, at all, fact borne ideas sprayed as grown,
Nor Man as halo'd tower of nature known.
Thy fearful lift's bed rock stepped arbor type--
Sight bearing wake's upholding spinelike gripe,
In the last inhauling hall o' the endstead, down
Where glues the gloomy swipe of night's tar frown
And stays the rathe of day's eclipse, where lone,
The moon gropes round in purblind monotone,
For there her tender stars are dark as stone--
Now from the indrawn earth's sky-gauging billow
Sees out about, through art tied back, they cone,
Whose spread of insight beam far round out-thrown
With wake each slippery rising peak doth crown
Pale as the pallors tip this pile o' pillow.
Charles S. Peirce
(in Joseph Brent, Charles Sanders Peirce: A Life)
Brent (330) says this poem "is interesting only because Peirce wrote 
it" while I consider it one of the great poetic achievements of the 
19th century.

Gary
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[peirce-l] Re: No mental eyes of erst e'er hads't thou shone

[Neal Bruss]

(The last time I responded to anything in the discussion forum, an attachment 
appeared on my e-mail which one of you diagnosed as a virus.  I haven't found 
it in my computer or in my e-mail provider, but if this e-mail arrives with an 
attachment, please do not open it--I am not attaching anything!)

Any  poem that Peirce wrote does warrant an interpretive paraphrase.  With 
that, one might seek relationships with two poetic texts that Peirce quotes 
often, "Of thine eye I am eyebeam," from Emerson's "The Sphinx," and, from 
Shakespeare's\Measure for Measure\.  

 But man, proud man, 
 Drest in a little brief authority, 
 Most ignorant of what he's most assured, 
His glassy essence, like an angry ape, 
Plays such fantastic tricks before high heaven 
As make the angels weep.

Neal Bruss


-Original Message-
From:   csthorne [mailto:[EMAIL PROTECTED]
Sent:   Sun 6/11/2006 12:49 PM
To: Peirce Discussion Forum
Cc: 
Subject:[peirce-l] Re: No mental eyes of erst e'er hads't thou shone


"One of the great poetic achievements of the 19th century"? Surely you jest, 
sir. More appropriate descriptive adjectives might be: labored; plodding; 
syntactically crippled; full of pretense. A couple of lines -- "Thy entailed 
gnomon had not splayed as prone" and "Pale as the pallors tip this pile o' 
pillow" read like they were written by the Monty Python Troupe. This poem is 
not just bad, it is hilariously, over-the-top bad.
Creath Thorne 

 

 

 

Gary Richmond writes: 

> No mental eyes of erst e'er hads't thou shone;
> Thy entailed gnomon had not splayed as prone;
> Not, at all, fact borne ideas sprayed as grown,
> Nor Man as halo'd tower of nature known. 
> 
> Thy fearful lift's bed rock stepped arbor type--
> Sight bearing wake's upholding spinelike gripe,
> In the last inhauling hall o' the endstead, down
> Where glues the gloomy swipe of night's tar frown 
> 
> And stays the rathe of day's eclipse, where lone,
> The moon gropes round in purblind monotone,
> For there her tender stars are dark as stone--
> Now from the indrawn earth's sky-gauging billow 
> 
> Sees out about, through art tied back, they cone,
> Whose spread of insight beam far round out-thrown
> With wake each slippery rising peak doth crown
> Pale as the pallors tip this pile o' pillow. 
> 
> Charles S. Peirce 
> 
> (in Joseph Brent, Charles Sanders Peirce: A Life) 
> 
> Brent (330) says this poem "is interesting only because Peirce wrote it" 
> while I consider it one of the great poetic achievements of the 19th 
> century. 
> 
> Gary 
> 
> ---
> Message from peirce-l forum to subscriber [EMAIL PROTECTED] 
> 
 


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[peirce-l] Re: No mental eyes of erst e'er hads't thou shone

[Gary Richmond]

Neal,

Thanks for suggesting that there might be a relationship between these
two texts.

Neal Bruss wrote:

  Any  poem that Peirce wrote does warrant an interpretive paraphrase.  With that, one might seek relationships with two poetic texts that Peirce quotes often, "Of thine eye I am eyebeam," from Emerson's "The Sphinx," and, from Shakespeare's\Measure for Measure\.  

 But man, proud man, 
 Drest in a little brief authority, 
 Most ignorant of what he's most assured, 
His glassy essence, like an angry ape, 
Plays such fantastic tricks before high heaven 
As make the angels weep.
  

It seems to me--or more precisely, it has been my experience--that
Peirce makes one work hard to "get" this poem. Although it immediately
resonated with me, I  had to look up many an _expression_ he used so that
I finally created something of a miniature thesaurus for it. Take any
of the significant images of it, for example the gnomon, and a little
research brings one such tidbits as this:
http://www.answers.com/gnomon?gwp=11&ver=1.0.8.207&method=3

gnomon (nō'mŏn',
-mən) 
n.

   An object, such as the style of a sundial, that projects a
shadow used as an indicator.
  The geometric figure that remains after a parallelogram has been
removed from a similar but larger parallelogram with which it shares a
corner.

[Latin gnōmōn, from Greek,
interpreter, pointer of a sundial, from gignōskein,
to know.]
The following discussion in Wikipedia brings out
especially the "figurate number" notion prominent in Pythagoras (and
Peirce's cenopythagorean thinking) as well as the notion of gnomon as "an
ancient Greek
word meaning "indicator" or "one who discerns."". See:
http://www.answers.com/main/ntquery;jsessionid=sb7kpmplas5w?tname=figurate-numbers&gwp=11&sbid=lc12a
 
gnomon (in Wikipedia)

  
  

  

  
  
  
  
  
The cantilever spar of this cable-stay
bridge, the Sundial
Bridge at Turtle Bay, forms the gnomon of a large garden sundial
  
  
  The gnomon is the part of a sundial
which casts the shadow. Gnomon is an ancient Greek
word meaning "indicator" or "one who discerns." In the northern
hemisphere, the shadow-casting edge is normally oriented so that
it points north and is parallel to the rotation axis of the Earth. That
is, it is inclined to the horizontal at an
  angle
that equals the latitude
of the sundial's location. On
some sundials, the gnomon is vertical. These were usually used in
former times for observing the altitude of the sun, especially
when on the meridian.
The style
is the part of the
gnomon that casts the shadow. This can change as the sun moves. For
example, the upper west edge of the gnomon might be the style
in the morning and the upper east edge might be the style in the
afternoon.
  The art of constructing a gnomon sundial is sometimes termed
gnomonics.
  
  In geometry,
a gnomon is a plane figure formed by removing a parallelogram
from a corner of a larger parallelogram. This is a particular case of
the Pythagorean
gnomon: a basic unit from which a number pattern can be generated, by
adjoining it repeatedly to
obtain ever larger figures. This is described in figurate
numbers, in which squares of
numbers are generated from the gnomon of an odd
number.
  Gnomonic
projection is a projection of a sphere
in which the very centre of sight is not the centre of the sphere.
  <>Gnomon may also imply the design
paradigm
relationship between an
indicator and a dial or other reference, as with a speedometer and
needle. In this case, the needle functions as a gnomon against
the incremented speedometer background.

Of course Peirceno poet of the stature of Emerson or Shakespeare. But
it is possible to be quite responsive to this poem (as I am).
It's the kind of work one studies again and again for the philosophical
insight it holds (I've returned to it many times for the past 6-8
years).

Gary


  
  


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[peirce-l] Re: Entelechy

[Cassiano Terra Rodrigues]

Dear Benjamin:
thanks for your enlightening quotes from Aquinas and for your
clarifying your entelecheian logou. Always a pleasant and learningfull
note from you.
Dears Victoria and Gary:
I'm glad I'm not completely out of the subject.

List:
I'll try to get back to the subject in a more decent way soon.
all the best
cass.
2006/6/6, Gary Richmond <[EMAIL PROTECTED]>:
Victoria & Cassiano,I agree that Cassiano's is a sane, sound, and evenevolutionary way of looking at entelechy. Peirce too sawthat Kant and Bergson were on the right metaphysical track,process and vitalism, not mechanism and predetermination.
The resultant 'emergent principle' is thus the seekingof a final and not an efficient cause. Tracing out thehistory of the principle further would seem a most valuableintellectual enterprise.Gary
Victoria N. Alexander wrote:> Dear Cassino,>> I think that your characterization of Aristotle's (and Pierce's)> entelechy as a process is correct.  I think an argument can be made
> that this is true of genuine teleology in general. Teleology seeks,> in  additional to material causes, evidence for an emergent vital> force  immanent in the process itself.  It seeks internal final causes
> not  external efficient causes. As vitalist Bergson writes in 1907,> predetermined teleology, based on a definite end, "implies that> things  and beings merely realize a programme previously arranged … As
> in the  mechanistic hypothesis, here again it is supposed that all is> given.  Finalism thus understood is only inverted mechanism.">> Kant imagined that limiting principles, inherent in ongoing natural
> processes themselves, guided events. According to Alicia Juarrero,> "Kant's emphasis on recursive causality, wherein the parts are both> cause and effect, precludes the existence of a preexisting whole"
> (113).  And as Ernst Cassirer explains, the Kantian whole is> "contained  in them [the parts] as a guiding principle." In Kant telos> is emergent,  given in the interactions between parts and the whole.
>> Victoria>> Victoria N. Alexander, Ph.D.> Dactyl Foundation for the Arts & Humanities> 64 Grand Street> New York, NY 10013> 212 219 2344> 
www.dactyl.org>> Support the arts! Copy and paste the link below to donate to Dactyl> Foundation using PayPal.>> https://www.paypal.com/xclick/
> business=art%40dactyl.org&item_name=Member+%2420+Friend+%24100+Patron+%2> 4500+Benefactor+%241000&item_number=Various+Levels&no_note=1&tax=0&curre> ncy_code=USD> On Jun 4, 2006, at 9:50 PM, Cassiano Terra Rodrigues wrote:
>>> Hello list:  It's been a long while I don't write, but the subject interests me.>>  I run the risk of repeating everything that was said here about>> entelechy, but a look up at the form of the word seems appropriate:
>>  entelechy in ancient greek is a form of saying (as literally as I>> can  see) en telos echein, that is, something like "to have the end>> [aim?]  in", "the obtaining of the end" (since the verb "echein" has
>> a wide  semantic range).>>  In this sense, it is possible to think of it as a process rather>> than  the final result of the process itself - if we think in analogy>> to the  ultimate interpretant, it's perfectly fit: although the
>> interpretant  is called "ultimate", it's nonetheless still an>> interpretant,  sign-process in sum.>>  Now, the substantive "entelechia" seems to indicate exactly this,
>> as  I can see, in Aristotle: a process of attaining the end (telos),>> which  should not as I see be defined as a definite outcome, final>> and not  capable of being fowarded furthermore - because the idea of
>> telos  carries the notion of possible aim to be reached - the final>> cause is  of the nature of a general desire, in Peirce's>> interpretation (which  seems a very plausible way to read Aristotle's
>> theory of the four  causes - the formal cause being in the end the>> same as the final  cause, the material cause the same as the>> efficient cause). So,  entelechy would be a process of causation, the
>> finalization of the   process of attainment a telos, or of>> fulfillment of the end, if I can  say this in English. So, it>> continues to be a process, as I tend to  read it; not the same as
>> before, but still a process.>>  I hope I'm understandable in this poor English of mine, and I also>> hope I'm not completely out of the discussion.>>  All the best to all,>>  Cassiano
>>  (from the Center for Studies on Pragmatism, Catholic University of>> São Paulo (PUC), Brasil).  --- Message from peirce-l forum to subscriber 
[EMAIL PROTECTED]>>> ---> Message from peirce-l forum to subscriber [EMAIL PROTECTED]>---Message from peirce-l forum to subscriber 
[EMAIL PROTECTED]


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[peirce-l] Re: Entelechy, friends of wisdom, nanomanagement

[Cassiano Terra Rodrigues]

Dear Wilfred:



Sorry I forgot to mention you on my last message.

I'm also glad my english is understadable...

I'll take a look at your projects with due interest and time after the semester is finished here in Brasil in July...

I think maybe one good philosopher to look up about entelecheia is
Heidegger, in his interpretations of Aristotle; as far as I can see,
Heidegger, of course, as almost every other philosopher, uses and
abuses of Aristotle's opinions to corroborate and make up his own; but
if I'm not mistaken, it seems that Heidegger is quite near to Peirce,
in that he seems to understand the processes of formal and material
causation as reducible to final and efficient causation respectively.
As I'm not very experienced in Heidegger, I may be totally wrong (and I
don't have the book here with me right now, but I can go for the
references later on) in my guess.

I don't really know of many philosophers that have dealt with
entelechia besides the ones mentioned, but it seems to me that the
subject is in one way or another present very oftenly in the texts - I
think specially on Schelling, the way he describes the the ground of
darkness (how is it in English? "dunkle Grund"?) as the principle of
possibility without any rule ("Regellose"), from which nature springs
forth (the Absolute as positing itself - God revealing himself into
existence), tending to complete revelation, to light - the Real as "dem
Dunkel".
Just to remember, Peirce was a reader of both Aristotle and
Schelling,  so, I think there are some links in this subject of
entelechia which could be searched out - explored.
Well, I'm not very precise right now, and I'm just suggesting things
from memory, since it's been a while I1ve read both Heidegger's
interpretation of Aristotle and Schelling's On the Essence of Human
Freedom.
So, if I'm commiting any mistake, please correct me.
thanks for your attention
cass.




2006/6/5, Drs.W.T.M. Berendsen <[EMAIL PROTECTED]>:

















Dear Cassiano, list,

 

I regard the below message as very interesting. Cassiano,
your English is definitely not poor. And for me it adds for sure to the
understanding of the very interesting notion of Entelechy. Which I also regard
a very interesting subject. But, till now I only know the sources of Peirce and
Aristotle for this notion. Maybe some people here now some other sources where
interesting statements about entelechy are made?

 

Besides this I would like to mention some initiative
I take part in now and that might be worthwhile to subscribe to for some
members of this list. It is the initiative called "friends of wisdom".
The official website being http://www.knowledgetowisdom.org/
.
The most interesting thing is, we currently have 2 mailing lists there. One for
the initiative itself, and one for discussions. The discussions there are very
interesting to me. And I think there will be enough people here who would also
be interested. 

Besides this initiative, I once again would like to
mention my own initiative on www.nanomanagement.info
.
Would like to request people from here again to enlist on that website. But
actually it is just there but not very active yet. Also because of the small
group of members yet, unfortunately. But I will surely add more means for
communication and, more interesting, more useful info and insights there. Much
more. In some months or so (first have to complete my PhD research which is
taking most of my time now). In some months my initiative on 
www.nanomanagement.info will be much
more interesting for sure. But to enable this, I need more people taking part. As
soon as possible. So once again, I would request people to view and enlist.

 

Kind regards,

 

Wilfred

 









Van:

Cassiano Terra Rodrigues [mailto:
[EMAIL PROTECTED]] 
Verzonden: maandag 5 juni 2006
3:51
Aan: Peirce
 Discussion Forum
Onderwerp: [peirce-l] Re:
Entelechy



 

Hello list:

It's been a long while I don't write, but the subject interests me.
I run the risk of repeating everything that was said here about entelechy, but
a look up at the form of the word seems appropriate: 
entelechy in ancient greek is a form of saying (as literally as I can see) en
telos echein, that is, something like "to have the end [aim?] in",
"the obtaining of the end" (since the verb "echein" has a
wide semantic range).
In this sense, it is possible to think of it as a process rather than the final
result of the process itself - if we think in analogy to the ultimate
interpretant, it's perfectly fit: although the interpretant is called
"ultimate", it's nonetheless still an interpretant, sign-process in
sum. 
Now, the substantive "entelechia" seems to indicate exactly this, as
I can see, in Aristotle: a process of attaining the end (telos), which should
not as I see be defined as a definite outcome, final and not capable of being
fowarded furthermore - because the idea of telos carries the notion of possible
aim to be reached - the final cause is of the nature of a 

[peirce-l] Re: No mental eyes of erst e'er hads't thou shone

[Neal Bruss]

I'm not in a position to work on the poem now, but hope to do so soon.  


-Original Message-
From:   Gary Richmond [mailto:[EMAIL PROTECTED]
Sent:   Sun 6/11/2006 10:18 PM
To: Peirce Discussion Forum
Cc: 
Subject:[peirce-l] Re: No mental eyes of erst e'er hads't thou shone

Neal,

Thanks for suggesting that there might be a relationship between these 
two texts.

Neal Bruss wrote:

>Any  poem that Peirce wrote does warrant an interpretive paraphrase.  With 
>that, one might seek relationships with two poetic texts that Peirce quotes 
>often, "Of thine eye I am eyebeam," from Emerson's "The Sphinx," and, from 
>Shakespeare's\Measure for Measure\.  
>
> But man, proud man, 
> Drest in a little brief authority, 
> Most ignorant of what he's most assured, 
>His glassy essence, like an angry ape, 
>Plays such fantastic tricks before high heaven 
>As make the angels weep.
>  
>
It seems to me--or more precisely, it has been my experience--that 
Peirce makes one work hard to "get" this poem. Although it immediately 
resonated with me, I  had to look up many an expression he used so that 
I finally created something of a miniature thesaurus for it. Take any of 
the significant images of it, for example the gnomon, and a little 
research brings one such tidbits as this:
http://www.answers.com/gnomon?gwp=11&ver=1.0.8.207&method=3

gnomon (no-'mo(n', -m?n) pronunciation
n.

   1. An object, such as the style of a sundial, that projects a shadow
  used as an indicator.
   2. The geometric figure that remains after a parallelogram has been
  removed from a similar but larger parallelogram with which it
  shares a corner.

[Latin gno-mo-n, from Greek, interpreter, pointer of a sundial, from 
gigno-skein, to know.]

The following discussion in Wikipedia brings out especially the 
"figurate number" notion prominent in Pythagoras (and Peirce's 
cenopythagorean thinking) as well as the notion of gnomon as "an ancient 
Greek word meaning "indicator" or "one who discerns."". See:
http://www.answers.com/main/ntquery;jsessionid=sb7kpmplas5w?tname=figurate-numbers&gwp=11&sbid=lc12a
 
gnomon (in Wikipedia)

> The cantilever spar of this cable-stay bridge, the Sundial Bridge at 
> Turtle Bay, forms the gnomon of a large garden sundial 
> 
>  
>
> Enlarge 
> 
> The cantilever spar of this cable-stay bridge 
> ,
>  
> the Sundial Bridge at Turtle Bay 
> ,
>  
> forms the gnomon of a large garden sundial
>
> The gnomon is the part of a sundial 
> 
>  
> which casts the shadow. Gnomon is an ancient Greek word meaning 
> "indicator" or "one who discerns." In the northern hemisphere, the 
> shadow-casting edge is normally oriented so that it points north and 
> is parallel to the rotation axis of the Earth. That is, it is inclined 
> to the horizontal at an angle 
> 
>  
> that equals the latitude 
> 
>  
> of the sundial's location. On some sundials, the gnomon is vertical. 
> These were usually used in former times for observing the altitude of 
> the sun, especially when on the meridian 
> .
>  
> The style 
> 
>  
> is the part of the gnomon that casts the shadow. This can change as 
> the sun moves. For example, the upper west edge of the gnomon might be 
> the style in the morning and the upper east edge might be the style in 
> the afternoon.
>
> The art of constructing a gnomon sundial is sometimes termed gnomonics.
>
> 
>
> In geometry 
> ,
>  
> a gnomon is a plane figure formed by removing a parallelogram 
> 
>  
> from a corner of a larger parallelogram. This is a particular case of 
> the Pythagorean 
> 
>  
> gnomon: a basic unit from which a number pattern can be generated, by 
> adjoini

[peirce-l] Re: No mental eyes of erst e'er hads't thou shone

[Gary Richmond]

Neal Bruss wrote:

  I'm not in a position to work on the poem now, but hope to do so soon.  
  

Neal, this is good to hear. I've been doing a bit of Googling, and you
seem just the man to attempt this. If my poem-specific thesaurus might
prove handy when you finally have time to get to the poem, let me know.

Gary

  

-Original Message-
From:	Gary Richmond [mailto:[EMAIL PROTECTED]]
Sent:	Sun 6/11/2006 10:18 PM
To:	Peirce Discussion Forum
Cc:	
Subject:	[peirce-l] Re: No mental eyes of erst e'er hads't thou shone

Neal,

Thanks for suggesting that there might be a relationship between these 
two texts.

Neal Bruss wrote:

  
  
Any  poem that Peirce wrote does warrant an interpretive paraphrase.  With that, one might seek relationships with two poetic texts that Peirce quotes often, "Of thine eye I am eyebeam," from Emerson's "The Sphinx," and, from Shakespeare's\Measure for Measure\.  

But man, proud man, 
Drest in a little brief authority, 
Most ignorant of what he's most assured, 
   His glassy essence, like an angry ape, 
   Plays such fantastic tricks before high heaven 
   As make the angels weep.
 


  
  It seems to me--or more precisely, it has been my experience--that 
Peirce makes one work hard to "get" this poem. Although it immediately 
resonated with me, I  had to look up many an _expression_ he used so that 
I finally created something of a miniature thesaurus for it. Take any of 
the significant images of it, for example the gnomon, and a little 
research brings one such tidbits as this:
http://www.answers.com/gnomon?gwp=11&ver=1.0.8.207&method=3

gnomon (no-'mo(n', -m?n) pronunciation
n.

   1. An object, such as the style of a sundial, that projects a shadow
  used as an indicator.
   2. The geometric figure that remains after a parallelogram has been
  removed from a similar but larger parallelogram with which it
  shares a corner.

[Latin gno-mo-n, from Greek, interpreter, pointer of a sundial, from 
gigno-skein, to know.]

The following discussion in Wikipedia brings out especially the 
"figurate number" notion prominent in Pythagoras (and Peirce's 
cenopythagorean thinking) as well as the notion of gnomon as "an ancient 
Greek word meaning "indicator" or "one who discerns."". See:
http://www.answers.com/main/ntquery;jsessionid=sb7kpmplas5w?tname=figurate-numbers&gwp=11&sbid=lc12a
 
gnomon (in Wikipedia)

  
  
The cantilever spar of this cable-stay bridge, the Sundial Bridge at 
Turtle Bay, forms the gnomon of a large garden sundial 
 

Enlarge 

The cantilever spar of this cable-stay bridge 
, 
the Sundial Bridge at Turtle Bay 
, 
forms the gnomon of a large garden sundial

The gnomon is the part of a sundial 
 
which casts the shadow. Gnomon is an ancient Greek word meaning 
"indicator" or "one who discerns." In the northern hemisphere, the 
shadow-casting edge is normally oriented so that it points north and 
is parallel to the rotation axis of the Earth. That is, it is inclined 
to the horizontal at an angle 
 
that equals the latitude 
 
of the sundial's location. On some sundials, the gnomon is vertical. 
These were usually used in former times for observing the altitude of 
the sun, especially when on the meridian 
. 
The style 
 
is the part of the gnomon that casts the shadow. This can change as 
the sun moves. For example, the upper west edge of the gnomon might be 
the style in the morning and the upper east edge might be the style in 
the afternoon.

The art of constructing a gnomon sundial is sometimes termed gnomonics.



In geometry 
, 
a gnomon is a plane figure formed by removing a parallelogram 
 
from a corner of a larger parallelogram. This is a particular case of 
the Pythagorean 
 
gnomon: a basic unit from which a number pattern can be generated, by 
adjoining it repeatedly to obtain ever larger figures. This is 
described in figurate numbers 
, 
in which squares of numbers are generated from the gnomon of an odd 
number 
.

Gnomonic projection 
 
is a projection of a sphere 
 
in which the very centre of sight is not the centre of the sphere.

<>Gnomon may also imply the design paradigm 
 
relationship between an indicator and a dial or other reference, as 
with a speedometer and needle. In this case, the needle functions as a 
gnomon against the incremented speedometer background.

  
  
Of course Peirceno poet of the stature of Emerson or Shakespeare. But it 
is possible to be quite responsive to this poem (as I am). It's the kind 
of work one studies again and again for the philosophical insight it 
holds (I've returned to it many times for the past 6-8 years).

Gary

  
  
 


  
  

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[peirce-l] Re: Sinsign, Legisign, Qualisign

[Benjamin Udell]

Bernard, list,
 
It's finally occurred to me that what Bernard has been focusing on my 
preference for an "all-ascending" order in the table of Peirce's classes of 
signs. But it's not the ascending, it's the "all," that I prefer. In other 
words, consistency. "All descending" is fine too. If there's a mix, then there 
should be a reason.
 
Best, Ben
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