“The second level of legitimation contains theoretical propositions in a rudimentary form. Here may be found various explanatory schemes relating sets of objective meanings. These schemes are highly pragmatic, directly related to concrete actions. Proverbs, moral maxims and wise sayings are common on this level. Here, too, belong legends and folk tales, frequently transmitted in poetic forms.”

—  Peter L. Berger, book The Social Construction of Reality

1991; 112
The Social Construction of Reality, 1966

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Peter L. Berger45
Austrian-born American sociologist 1929–2017

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“Without proposing an evolutionary scheme for such types, it is safe to say that mythology represents the most archaic form of universe-maintenance, as indeed it represents the most archaic form of legitimation generally.”

Peter L. Berger book The Social Construction of Reality

1991; 127-8
The Social Construction of Reality, 1966

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“Pure Mathematics is the class of all propositions of the form “p implies q,” where p and q are propositions containing one or more variables, the same in the two propositions, and neither p nor q contains any constants except logical constants. And logical constants are all notions definable in terms of the following: Implication, the relation of a term to a class of which it is a member, the notion of such that, the notion of relation, and such further notions as may be involved in the general notion of propositions of the above form. In addition to these, mathematics uses a notion which is not a constituent of the propositions which it considers, namely the notion of truth.”

Bertrand Russell (1872–1970) logician, one of the first analytic philosophers and political activist

Principles of Mathematics (1903), Ch. I: Definition of Pure Mathematics, p. 3
1900s

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“The most promising lines of development of theory in the sociological and most immediately related fields, particularly the psychological and cultural, therefore, seem to be two-fold. One major direction is the theoretical elaboration and refinement of structural-functional analysis of social systems, including the relevant problems of motivation and their relation to cultural patterns. In this process, the structure of social action provides a basic frame of reference, and aspects of it become of direct substantive importance at many specific points. The main theoretical task, however, is more than a refinement of the conceptual scheme of the presently reprinted book — it involves transition and translation to a different level and focus of theoretical systematization.”

Talcott Parsons (1902–1979) American sociologist

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Immanuel Kant photo

“Morality is thus the relation of actions to the autonomy of the will, that is, to a possible giving of universal law through its maxims.”

Immanuel Kant (1724–1804) German philosopher

Groundwork of the Metaphysics of Morals (1785)
Context: Morality is thus the relation of actions to the autonomy of the will, that is, to a possible giving of universal law through its maxims. An action that can coexist with the autonomy of the will is permitted; one that does not accord with it is forbidden. A will whose maxims necessarily harmonize with the laws of autonomy is a holy, absolutely good will. The dependence upon the principle of autonomy of a will that is not absolutely good (moral necessitation) is obligation. This, accordingly, cannot be attributed to a holy being. The objective of an action from obligation is called duty.

“This compositional variety is mediated by a highly redundant set structure, a second-order all-combinatorial set; each set form is hexachordally equivalent to or totally disjunct from fifteen other set forms, so that one-third of all the available set forms belong to a collection of sets which are hexachordally aggregate forming, that is, hexachordally identical.”

Milton Babbitt (1916–2011) American composer

On Igor Stravinsky's Movements. Perspectives of new music, Spring-Summer 1964

“Thematic analysis is a process for encoding quantitative information. The encoding requires an explicit "code". This may be a list of themes; a complex model with themes, indicators, and qualifications that are causally related; or something in between these two forms. A theme is a pattern found in the information that at minimum describes and organizes the possible observations and at maximum interprets aspects of the phenomenon. A theme may be identified at the manifest level (directly observable in the information) or at the latent level (underlying the phenomenon). The themes may be initially generated inductively from the raw information or generated deductively from theory or prior research.”

Richard Boyatzis (1946) American business theorist

Source: Transforming qualitative information (1998), p. vi-vii.

“A conceptual level view of an object design describes the key abstractions. While someone might think of key abstractions as being nothing more or nothing less than high-level descriptions of "candidate classes", I prefer to consider a conceptual design from a slightly different angle--I'm thinking about design at a slightly different level.
An object-oriented application is a set of interacting objects. Each object is an implementation of one or more roles. A role supports a set of related (cohesive) responsibilities. A responsibility is an obligation to perform a task or know certain information. And objects don't work in isolation, they collaborate with others in a community to perform the overall responsibilities of the application. So a conceptual view, at least to start, is a distillation of the key object roles and their responsibilities (stated at a fairly high level). More than likely (unless you form classification hierarchies and use inheritance and composition techniques) many candidates you initially model will map directly to a single class in some inheritance hierarchy. But I like to open up possibilities by think first of roles and responsibilities, and then as a second step towards a specification-level view, mapping these candidates to classes and interfaces.”

Rebecca Wirfs-Brock (1953) American software engineer

Rebecca Wirfs-Brock (2003) in " An Interview with Rebecca Wirfs-Brock Author of Object Design http://www.objectsbydesign.com/books/RebeccaWirfs-Brock.html" 2003-2005 Objects by Design, Inc: Answer to the question Can you clarify what you consider to be the essential elements of a "conceptual view".

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“It may seem paradoxical to say that there are similarities between a poetical and a commercial mind, but it is a fact that both a poet and a businessman are constantly dealing with problems that are directly related to people and for which sensitivity is of prime importance.”

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1950's, On Being a Graphic Artist', 1953
Context: It may seem paradoxical to say that there are similarities between a poetical and a commercial mind, but it is a fact that both a poet and a businessman are constantly dealing with problems that are directly related to people and for which sensitivity is of prime importance. The business-like mind is sometimes described as being cold, sober, calculating, hard; but perhaps these are simply qualities that are necessary for dealing with people if one wants to achieve anything. One is always concerned with the mysterious, incalculable, dark, hidden aspects for which there is no easy formula, but which form essentially the same human element as that which inspires the poet.

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“I am interested in sculpture that manipulates the viewer into a specific relation with both space and time. Time, on two levels; one narratively and cinematically as a matter of the passage through the work, and the other as a literal elongation of the moment. This has to do with form and colour and the propensity of colour to induce reverie. Consequently, I hope, an elongation of time. Space is as complex, the space contained in an objectmust be bigger than the object which contains it. My aim is to separate the object from its object-hood.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Anish Kapoor in conversation with Heidi Reitmaier, July 2007 in "Anish Kapoor" by Royal Academy Organization.

“One’s enemies transmit your story in a distorted form; for they are wrought with envy, jealousy, and hatred. Their aim is to reduce your power and the level of presence.”

Gandolfo – (RJ Intindola)

2020

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