戈德曼（Nelson Goodman）的「投射理論」針對休謨難題，透過語言分析方法回應知識的可靠性問題，「Grue 悖論」戲劇性地展示出藝術效果而擾動了已知的概念世界，雖然能以不合乎習慣用法為理由而排除「Grue」，然而，戈德曼所關注的反而是在什麼背景情況之下「新述語」的使用能成立的提問，相似於他後來發展的「象徵理論」，以「樣本」的雙重性質，討論一個對象在某些情況才會是藝術作品，能做為一個符號履行出藝術功能。不僅是自然科學，還有人文科學的知識；不僅是文字符號的，還有非文字的符號，在科學家和藝術家手中都是構造世界的工具，他對於現實和人為虛構手段的興趣遠勝於對先驗和真理的追尋。多重符號系統在現實世界中如何起作用？從「投射理論」透視「象徵理論」，搜尋其中的內部關聯，揭示人為意志如何接受、廢除、重塑、再重新接受熟悉的世界。
投射理論、象徵理論、例現、樣本、徵候、構造世界
Against Hume's difficult problem, Nelson Goodman's theory of projection explores the reliability of knowledge through the analysis of language. "The Grue enormous theory" dramatically showed artistic effects that have shaked the known conceptual world. Although 'Grue' cannot be rejected on the ground of its unconventionality, Goodman's concern is rather about the back ground against which would predicates are established. This situation is similar to his later development of the 'symbolic theory' discursing under which circumstances can an object be an art work and can perform artistic junctions as a symbol. Not only is the knowledge natural science, but also the knowladge of the humanities; not only written symbols, but also non-written symbols, are all tools, for the construction of world in the hands of the artists. His interest in practical and fictional means for exceeds his pursuits of the a priori and the truth. How does the multiple symbolic system function in the practical world? He gains the perspective of 'symbolic theory' through 'projection theory', searching for its interual connections, revealing how human will accepts, abolishes, reforms and re-accepts the familiar world.
projection theory, symbolic theory, exemplification, samples, sign, construction of world
