Inspirational quotes with formalism.
If physics leads us today to a world view which is essentially mystical, it returns, in a way, to its beginning, 2,500 years ago. ... This time, however, it is not only based on intuition, but also on experiments of great precision and sophistication, and on a rigorous and consistent mathematical formalism.
All these schools of though gradually transformed into legal institutions, the diversity of ideas and freedom of opinion that characterized their early development gave way to rigid formalism, strict adherence to precedent, and an almost complete stultification of independent though
To the average mathematician who merely wants to know his work is securely based, the most appealing choice is to avoid difficulties by means of Hilbert's program. Here one regards mathematics as a formal game and one is only concerned with the question of consistency ... . The Realist position is probably the one which most mathematicians would prefer to take. It is not until he becomes aware of some of the difficulties in set theory that he would even begin to question it. If these difficulties particularly upset him, he will rush to the shelter of Formalism, while his normal position will be somewhere between the two, trying to enjoy the best of two worlds.
After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication.
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