Ernst Cassirer (1874-1945) gets mentioned here mainly because his centenary was the occasion for this paper. But there is another connection: he shared Goodman’s interest in symbols and had interests spanning science and art. Although he is not himself known for specific work in aesthetics, an important American philosopher of art, Susanne Langer (1895-1985), was strongly influenced by his views on “symbolic forms.”

The beginning of this paper might leave you in some doubt about whether Goodman will discuss art. But remember that Goodman doesn’t draw a sharp line between art and science, and you will find the artistic examples increase as you go on. And, although Goodman and Heidegger are far apart philosophically, it is worth remembering Heidegger’s description of a work of art as “setting up” a world. The connection with what Goodman has in mind is more than merely verbal.

• The key thing to watch for in §2 is Goodman’s way of speaking of multiple worlds or “world-versions” (as distinct from inter-transformable frames of reference).

• Goodman makes two key points in the brief §3: just as there is no “innocent eye” (the phrase is Gombrich’s) there is no world without symbols, and worlds can only be made from other worlds.

• §4 may well take up most of our discussion. Goodman lists a number of “ways of world-making” (that phrase is the title of a book he published shortly after this). Consider his examples, think of your own, and see if you can think of further ways that aren’t on his list.

• In the case of §5, think how Goodman’s idea of “rightness” differs from truth (there are a number of ways) and why he takes it to be more important as a feature of “versions.”

• The crux of §6 is Goodman’s claim that “reality in a world, like realism in a picture, is largely a matter of habit” (p. 70). Think about both parts of this claim.

• In §7 he returns to ideas at the end of “Art and Inquiry” though the emphasis given to them by a statement like “comprehension and creation go on together” (p. 72) might be a little different.