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By Franz Brentano

Franz Brentano is acknowledged as essentially the most vital philosophers of the past due 19th and early 20th centuries. This paintings, first released in English in 1988, in addition to being a massive contribution to metaphysics in its personal correct, has significant historic value via its effect on Husserl’s perspectives on inner time recognition. The paintings is preceded via a protracted creation via Stephan K?rner in collaboration with Brentano’s literary executor.

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One of the radii pure red and another pure blue. However, a more careful investigation shows that this opinion is marked by contradictions and that it does not take account of the fact that every boundary, because it exists only in the context of the continuum to which it belongs as boundary, must itself show up differences in reflection of differences in this continuum. Hence red, as beginning of a slower or faster variation towards blue, cannot be red in the same perfection; and still less can it be as perfectly red as in the case where it belongs as boundary to a uniformly red surface.

Certainly we cannot distinguish the individual points and boundaries in the continuum that presents itself to us, just as we could not distinguish the individual red positions in the divided chessboard. Yet this does not hinder us in apprehending with complete certainty that boundaries and coincidences of boundaries are numberlessly present in the whole in question. The general character of that which is continuous, like, in the just-mentioned example, the character of that which participates in red and blue and is thus to be referred to as reddish and bluish, remains beyond all possible doubt.

We referred just now by way of comparison to the often significant differences among the degrees of variation of lines and surfaces and also among the velocities of a motion. The differences in degree On What is Continuous 17 of variation which can be manifested by a coloured surface may also serve as intuitive examples for someone who actually believes in continuous variation here (as is commonly the case). Consider a rectangle which begins as pure red on the one side and, after proceeding through a continuous series of nuances of violet, ends up as pure blue.

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