
“Every art and every faculty contemplates certain things as its principal objects.”
Book I, ch. 20.
Discourses
Part II. Ch. 2 : Mathematical Definitions and Education, p. 128
Variant translation: The chief aim of mathematics teaching is to develop certain faculties of the mind, and among these intuition is by no means the least valuable.
Science and Method (1908)
Context: The principal aim of mathematical education is to develop certain faculties of the mind, and among these intuition is not the least precious. It is through it that the mathematical world remains in touch with the real world, and even if pure mathematics could do without it, we should still have to have recourse to it to fill up the gulf that separates the symbol from reality.
Le but principal de l'enseignement mathématique est de développer certaines facultés de l'esprit et parmi elles l'intuition n'est pas la moins précieuse. C'est par elle que le monde mathématique reste en contact avec le monde réel et quand les mathématiques pures pourraient s'en passer, il faudrait toujours y avoir recours pour combler l'abîme qui sépare le symbole de la réalité.
Science and Method (1908)
“Every art and every faculty contemplates certain things as its principal objects.”
Book I, ch. 20.
Discourses
Source: Are We Victims of Propaganda, Our Invisible Masters: A Debate with Edward Bernays (1929), p. 145
Source: Aphorisms and Reflections (1901), p. 234
Source: A Mathematical Theory of Systems Engineering (1967), p. 3.
The Text-Critical Use of the Septuagint, 2nd ed. (1997), p.232
“Intuition is a spiritual faculty and does not explain, but simply points the way.”
Source: Wisdom of Florence Scovel Shinn, (1989), p. 65
Cahiers du Cinema (1960)
Context: The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical.
Source: Education in the New Age (1954), p.50