The French philosophy of mathematics which Hegel had preferred to the kind of mathematical philosophy upheld by Kant and the Scots was far too nominalistic to do justice to the Euclidean Geometry. That is to say, the Hegelian philosophy of geometry involves the very dubious idea that an obviously synthetic principle like a straight line is the shortest distance between two points can be legitimately treated-for the purpose of justifying it---as if it were analytically obvious in the same manner in which identities like 1+1=2, 2+1=3 are analytically obvious. By shortening the piece of string that joins the two pegs to a flat surface you can gradually reduce the curvature of the connecting cord.

In the article on the philosophy of perception which Hamilton sent to Jouffrey and Royer-Collard as well as to Cousin, he clarifies and defends his claim in a careful discussion of Reid's relation to Hume's scepticism. Reid, says Hamilton, makes a good point against scepticism about the external world by drawing a distinction, similar to that in Ryle, between sensation and perception, the latter having as its proper objects the shapes and sizes of bodies other than one's own, the former consisting in vague feelings of interorganic strains and pains. But Reid is less successful against scepticism, when like so many philosophers from Berkeley to Hegel, he finds a key to the crux in the idea that the only serious illustrations of shape and size are optical illusions which are corrected by touch as a sort of illusion free, reality sense. Not only is touch beset with as many size and shape illusions as is sight, but far from being a reality sense, our tactual encounters with an extraorganic body presents it to us as only as something resisting our organic strivings which is vaguely space occupying, but it is unknown in its details. Finishing with a position more like Hume's than Reid's, Hamilton declares that in perception, we never get beyond the experiences of our own organism, in any of the sense fields - a paradox which his pupil Clerk Maxwell as well as his friend Ferrier were to find very stimulating.

I called on Mr Donaldson the painter for a little...He said he did not like painters always choosing subjects from Books. It made painting a secondary art. Let it supply itself with ideas

Manipulating light sources will provide a recording of place through passive means   In this case this means readjusting the surface tension of various walls to enhance aspects and awareness of that surface tension. The drawing on the glass structure provides a stasis for the movement of shadow from the built environment. This process can engage all audiences through its natural movement of shadow as the light source moves over the site. Thus synthesising the built, the drawn and light.