Sorites

Sainsbury, Mark; Williamson, Timothy

doi:10.1002/9781118972090.ch28

Cited by 1 publication

(2 citation statements)

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“…One of them, referred to as the heap or the sorites paradox, highlights the difficulties in determining the boundaries of a vague concept such as the word ‘heap’. This paradox or ‘little‐by‐little argument’ (Sainsbury & Williamson 2017, 734) goes something like this. A single grain of sand (or wheat) does not make a heap, nor does adding another grain change it into a heap.…”

Section: Introduction: Learning the Opaquementioning

confidence: 96%

“…Unlike, for instance, being pregnant and not being pregnant, a heap (or baldness, another paradox attributed to Eubulides) is a vague, possibly relative, concept and could signal the limitations of human cognition and intellectual challenges we face when seeking to claim objective truth – this was, in fact, the position of the Sceptics. On the other hand, the Stoics, who practised bivalent thinking (every statement is either true or false), wrangled over the sorites paradox and argued that the paradox merely indicates that we are ignorant of the actual cut‐off point (Sainsbury & Williamson 2017).…”

Section: Introduction: Learning the Opaquementioning

confidence: 99%

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Like Drifting Sand Dunes: Noisy Lessons in a Porous Field

Vella

2024

Int J Art Design Ed

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This paper argues that the teaching of art in Higher Educational Institutions is inherently paradoxical. Informed by the transgressive and interdisciplinary qualities of contemporary artistic practices, education nevertheless is often made to fit into a reductionist, outcome‐oriented and individualistic discourse. Taking a weeklong workshop at the Nida Art Colony in Lithuania as a practical axis for its reflections on the fluid nature of art education, the paper discusses possibilities of extending beyond pedagogical, political, human/nonhuman and other borders and treating ‘noise’ and other ‘interferences’ as opportunities for transgression and dialogue. This workshop with students from the Vilnius Academy of Arts took place in September 2022, at a time characterised by the Russia–Ukraine war. Nida's proximity to Russia's exclave Kaliningrad, its location on the narrow Curonian Spit, and its immediate environment characterised by woods and sand dunes provide this paper with a setting for a discussion about a variety of borders: territorial borders, border pedagogies, perceived borders between human and nonhuman entities, between land and sea, and so on. Borders are described as dominant indicators of power and distinction, while educational standards and instruments of measurement often replicate similar distinctions between the known and the unfamiliar. Yet, borders can also be shifted while new connections and dialogues across real and conceptual borders can be forged in a porous process that is predisposed towards flexible scenarios characterised by the ‘not‐yet’. The surrounding forest and wetlands and huge drifting sand dunes in Nida become analogies for the changing structure of the workshop, silently yet overpoweringly advocating for a mutable pedagogy. Analysed through the work of various contemporary artists, this nonhuman intrusion into a pedagogical and creative experience is both undefined and vulnerable, unlike the preordained structures of attainment targets often associated with contemporary schooling.

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Section: Introduction: Learning the Opaquementioning

confidence: 96%

Section: Introduction: Learning the Opaquementioning

confidence: 99%