 2008). This maxim is extracted from "Notes, 1985," in The Daily Practice of Painting. 32 Peter Schjeldahl, "Death and the Painter," Art in America 4 (April 1990): pp. 252, 256. Cited in Robert Storr, "Introduction: Sudden Recall," pp. 198-205, in Gerhard Richter: Doubt and Belief in Painting (New York: Museum of Modern Art, 2003), p. 203. A second reference made by Storr to an article by Michael Brenson, "To Paint the Unpaintable," in the New York Times, March 25, 1990, pp. 35, 39, reminds anyone unfamiliar with Richter‟s stand regarding ideology that the series October 18, 1977 is as anti-ideological a testament as one might make (paint), given that it portrays the very temptation "to ideology and its price." Here projection is also "deflected." One merely observes the "price." Storr writes that these "cool black-and-white photo-based-images" depict in wholly indeterminate (blurred) ways the "controversial lives and deaths of four German social activists turned terrorists." The first exhibitions in America were accompanied by documentary details of the years leading to the German Autumn, with copies of the original images (television, newspaper, and police archive) from which Richter worked. While Richter insisted on the paintings being received as paintings, he also understood that the reception required the apparatus of the actual events leading to the series. This latter supplement is typically repressed, and constitutes a portion of the transcendental field of art insofar as it is reconstituted from memory or, as is often the case, through art criticism/scholarship. Synonymy between Token-Reflexive Expressions Abstract Synonymy, at its most basic, is sameness of meaning. A token-reflexive expression is an expression whose meaning assigns a referent to its tokens by relating each particular token of that particular expression to its referent. In doing so, the formulation of its meaning mentions the particular expression whose meaning it is. This seems to entail that no two token-reflexive expressions are synonymous, which would constitute a strong objection against token-reflexive semantics. In this paper, I propose and defend a notion of synonymy for token-reflexive expressions that allows such expressions to be synonymous, while being a fairly conservative extension of the customary notion of synonymy.
2008). This maxim is extracted from " Notes, 1985, " in The Daily Practice of Painting. 32 Peter Schjeldahl, " Death and the Painter, " Art in America 4 (April 1990 ): pp. 252, 256. Cited in Robert Storr, " initiation: Sudden Recall, " pp. 198 - 205, in Gerhard Richter: Doubt and Belief in Painting (New York: Museum of Modern Art, 2003), p. 203. A second reference point made by Storr to an article by Michael Brenson, " To Paint the Unpaintable, " in the New York Times, March 25, 1990, pp. 35, 39, reminds anyone unfamiliar with Richter‟s stand regard ideology that the series October 18, 1977 is as anti - ideological a will as one might make (paint), given that it portray the very temptation " to political orientation and its price. " Here projection is also " deflected. " One merely watch the " price. " Storr writes that these " cool black - and - white photo - establish - images " depict in wholly indeterminate (blurred) ways the " controversial animation and deaths of four German social activists turned terrorists. " The inaugural exhibitions in America were accompanied by documentary details of the years leading to the German Autumn, with copy of the original images (television, newspaper, and police archive) from which Richter worked. While Richter insisted on the paintings being received as paintings, he also understood that the reception required the apparatus of the actual events leading to the series. This latter supplement is typically repressed, and constitutes a portion of the nonnatural battlefield of art insofar as it is restructure from memory or, as is frequently the casing, through art criticism / scholarship. Synonymy between Token - Reflexive Expressions Abstract Synonymy, at its about basic, is sameness of meaning. A token - automatic expression is an expression whose meaning assigns a referent to its token by relating each particular token of that particular expression to its referent. In doing so, the formulation of its meaning mentions the particular expression whose mean it is. This seems to fee-tail that no two nominal - automatic expressions are synonymous, which would constitute a strong objection against token - reflexive semantics. In this paper, I propose and maintain a notion of synonymy for token - reflexive expressions that allow such expressions to be synonymous, while being a fairly conservative extension of the customary impression of synonymy.
 2008). Tjis maxim is extracted fvom "Notes, 1985," in Thg Eaily 'ractics of Paivting. 32 Peter Schjeldahl, "Deati ane the Painter," Art in Americx 4 (April 1990): pp. 252, 256. Cired mn Robert Storr, "Mhtroducbnon: Shfden Cecall," pp. 198-205, in Ggrhard Richtar: Doubt and Balkey in Painting (New York: Museum of Modqrn Art, 2003), o. 203. A second reseremse mzde by Storr to an article by Michzel Breison, "To Paint tne Unpaintable," in the New Jork Times, March 25, 1990, pp. 35, 39, reminds abyonq unfamiliar dith Richttr‟v stand refarding ideology that the serier Octpber 18, 1977 is qs anhh-ideologicao a tvstament as okv might make (psint), given thab it 'orteays the very temptatmon "to ideology and yts price." Hzre projection is alsi "eeflewted." One nerdly ousedves tje "'rice." Storr writes thar these "cool black-amd-ryite photo-bassd-imagqs" depict in wholly indeterminate (blurred) wags the "controversial lices and deaths of fout German sjcial activists turned terrorists." The first exhibhtiona in Aideifa were accompanied by documentary details of fht yvars leading to tme German Autumn, wotj vjpies of the urigincm jmages (television, jewspapgr, and police awchife) from which Richter workee. While Richner unsisted on the panntings beiny receoved ss paintings, he also unberstokd that the receptioh required the apoarstgs of tht actual events lewding to vhe szries. Thks lstter fupplement is tn[ically repressed, wnd clnvtitutes a portion of the transcendental hmeld of art imsmfag as it if recpnstituted frjm memory or, ax is ofcen thd case, thrkugh arv criticism/ssholarship. Sytlnymy betweei Token-Reslexuve Wxpresskuns Abstract Sunonymy, an nts most vasic, is sameness pf osaning. A token-rzyltxuve expression is an eqprxssiog whose meanitg arsiems a feferenu ti its tokens by relating aach particular token pf that patticular qxpression to its referent. In dling vo, vhe fotmujation of its meaning mentions the partlcujar expressijn wmose meaning ic is. This seems to entail that no two tojen-reflexive exprgssions are synonymoux, which woulv conseitute a vtrong objection agaunst token-reflexiye semantics. In this pzper, I proplse and defend a notion of synonymy for token-reflexive expressions that aolows such expressjons to bv svnouymous, rhilx ueing a fairly comservative extension of the cusvomary nothou of synonymy.
2008). This maxim is extracted from "Notes, The Practice of 32 Peter Schjeldahl, in 4 (April 1990): 252, 256. Cited Robert Storr, "Introduction: Sudden Recall," pp. in Gerhard Richter: Doubt and Belief in Painting (New York: Museum of Modern 2003), p. 203. A second reference made by Storr to an article by Brenson, Paint Unpaintable," the New York Times, March 25, 1990, pp. 35, 39, reminds anyone unfamiliar with Richter‟s stand ideology that the series October 18, 1977 is anti-ideological a testament as might make (paint), given that portrays very temptation ideology its Here projection is "deflected." One merely observes the "price." Storr writes that these "cool black-and-white photo-based-images" depict in wholly indeterminate ways the and deaths four social turned terrorists." The in America were accompanied by documentary years leading to the German Autumn, with copies the original (television, newspaper, and police archive) from Richter worked. While Richter insisted on the paintings received as paintings, he also understood that the reception required the apparatus of the actual to the series. This supplement is typically and a of transcendental field art insofar as it is reconstituted from memory or, as is the case, through art criticism/scholarship. Synonymy between Token-Reflexive Expressions Abstract its basic, is sameness meaning. A token-reflexive expression an whose meaning assigns a its by token that expression to its referent. doing so, the formulation of meaning mentions the particular This seems to entail that no two token-reflexive are synonymous, which would constitute a strong against token-reflexive semantics. In this paper, I propose and defend a notion synonymy for that allows such expressions to be synonymous, while a fairly conservative extension the customary notion of synonymy.
 2008). This maxim is extracted from "NOtes, 1985," in The DAily PRacTicE oF PaiNtinG. 32 Peter SchjeldaHL, "DeaTh and the Painter," Art in AmErica 4 (apRIl 1990): pp. 252, 256. cItEd in RObert StORr, "iNTroDuCtIon: suDDeN RecaLl," pP. 198-205, in GerhArd Richter: douBt And Belief in PAInTing (New YorK: MuSeum of Modern art, 2003), P. 203. A secoNd RefERence MadE by StOrr to aN ArticlE by MichaeL BREnson, "TO paint thE uNpAintAble," in the New York TIMeS, march 25, 1990, pp. 35, 39, reminds Anyone UnFAmILIar WitH Richter‟s sTaNd regARding idEOlOGY ThaT The series OctoBer 18, 1977 is as anti-IDeoLogicaL a TesTAment aS one mIgHT maKe (paint), giveN thaT it portraYs the vERy temptATion "to iDeologY anD itS priCE." HErE prOjECtiON iS alSO "deFlected." ONe MeRely oBserVES THe "prIce." storR writEs that these "coOl bLack-ANd-wHite pHoto-bAsed-ImAges" dEpict iN wholLy Indeterminate (blUrreD) ways the "cOntRoVerSiAl livES and deAthS of Four GerMan sociAL acTiVISTs Turned terrorists." ThE fIRSt ExhibitiOns in AMErIcA Were accoMpAniEd by DOCumenTary DEtAils of thE years LEaDiNg to the geRman AuTuMn, wIth CopieS Of thE origiNal imageS (teleVIsion, newspaper, ANd police archiVE) fROM wHIch RIchTer worked. WhIle RIChteR insIStEd oN The paIntinGs BEiNG received as paintingS, hE also uNdersTood that the reCeption reqUIREd the appAratUS oF The actual eventS leadIng to the seRIes. This lAtter SupplemeNt is typicALLy represSed, And ConStiTUTeS a portion of thE TRansCeNdental FieLd of art InsOfaR as It iS rEconstituTed from mEmOrY oR, aS is Often THe case, thRoUgh ArT crIticiSM/scholArshiP. SynOnYmY BetWeen TokEN-REFLexiVe exPresSioNs abstrAct SYNonYmy, at itS most basiC, is SAmenEsS oF meaninG. A token-reflexIvE expressioN iS an ExpresSIOn whose mEaning assigns a referent tO Its tokeNs bY relaTing Each partiCulAr tokeN of THat parTiculaR exprEsSioN TO its rEFErEnt. in Doing so, the FORmuLatioN oF its Meaning Mentions the particuLAr eXpression whosE meAninG IT iS. ThIS sEEms To ENtaIL That no two token-rEflexive exPrESsIons are synONymOuS, which wOuld conStituTE a stronG objectioN against tOkEn-reFLExiVe semanticS. In this pAper, I propOSe and DEfEnd a nOtiOn of syNoNymY for tOken-reFLexIve exPressiOnS that aLlows SuCh expresSions to be synonymous, whilE being A fairLy cOnservatiVe eXTenSion of the CustOmary notioN of SynOnymy.
 2008). This maxim is extr acted from  "Not es,  19 85 ," i n Th e Daily Practi c e of  Painting. 32 Peter Sc hjeld ah l , "D e at h and  the Pa i nt e r ,"Ar tinAm e ri ca 4(Ap ril 199 0): pp. 25 2,25 6. Cited inR ob ert Storr,  "I ntroduction:  Su dden R ec all , " pp.  19 8-205 , in G e rhardRichter:Do u bt and Beliefi n  P aint ing (New York: Mu s eu m  of Modern Art , 2003 ), p. 2 03.  Asecond ref er encem ade byS to r r toa n article byMichael Bre n son , "ToPa int the Un paint ab l e,"  in the New  Yor k Times,March2 5, 1990 ,  pp. 35 , 39,rem ind s an y on eunf am i lia r  w ith Ric hter‟s s ta nd  rega rdin g i d eolo gythat  theseries Octobe r 1 8, 1 9 77is as  anti -ide ol ogica l a te stame nt  as one might m ake(paint),giv en  th at  it p o rtrays  th e v ery tem ptation "to  i d e o lo gy and its price."  H e r eprojecti on isa ls o" deflecte d. " O ne m e r ely o bser v es  the "pr ice."S to rr  writes  t hat th es e " coo l bla c k-an d-whit e photo- based - images" depict in wholly ind e te r m in a te ( blu rred) waysthe" cont rove r si all ivesand d ea t hs of four German soci al  activ iststurned terror ists." The f i rst exhi biti o ns in America wer e acc ompanied b y  documen tarydetailsof the ye a r s leadin g t o t heGer m a nAutumn, withc o pies  o f the o rig inal im age s ( tel evi si on, newsp aper, an dpo li ce  ar chive )  from wh ic h R ic hte r wor k ed. Wh ile R icht er  i n sis ted ont he p aint in gs  bei ngre ceive d as pai ntings,  he alsound e rsto od  t hat the  reception re qu ired the a pp ara tus of t he actua l events leading to the series.  Th is la tter  suppleme ntis typ ica l ly rep ressed , and  c ons t i tutes a  p ort io n of the t r a nsc enden ta l fi eld ofart insofar as iti s r econstitutedfro m me m o ry  or ,  a s  is  o f ten t he case, throug h art crit ic i sm /scholarsh i p.Sy nonymybetween  Toke n -Reflex ive Expre ssions Ab st ract S yno nymy, at i ts mostbasic, is samen e ss  of m ean ing. A  t oke n-ref lexive exp ressi on isan  expre ssion  w hose mea ning assigns a referent  to it s tok ens  by relat ing eac h particu lartoken of t hat  pa rticu lar expre ssio n  t o i t s ref eren t . In doin g  s o,t h eformulation o f  it s mea nin g  menti onsthe particular ex p ression whosemean i n g i t i s . Th is  seems to enta ilth a t  no twoto ken-reflexi ve expre ss i ons a re syn onymou s, whic h wo u ld con stit ute  a strong  ob je c tion ag ai ns t  token -ref le xive s emanti c s. I n this paper, I pr opose a nd de f end  a no ti on of s y nony my for tok en-reflexiv e expr essi ons t hat all ow s such  ex pr essions to be synony mous,  whilebe inga f airlycons e r vativ e ex te nsi on of the c us t om ar y  no tion  of s yn onym y.
 2008)._This maxim_is extracted from "Notes,_1985," in_The_Daily Practice_of_Painting. 32 Peter_Schjeldahl, "Death and_the Painter," Art in_America 4 (April_1990):_pp. 252, 256. Cited in Robert Storr, "Introduction: Sudden Recall," pp. 198-205, in Gerhard_Richter:_Doubt and_Belief_in_Painting (New York: Museum of_Modern Art, 2003), p. 203._A second_reference made by Storr to an article by_Michael_Brenson, "To Paint_the Unpaintable," in the New York Times, March 25,_1990, pp. 35, 39, reminds anyone_unfamiliar with Richter‟s_stand_regarding_ideology that the series_October 18, 1977 is as anti-ideological_a testament as one might make_(paint), given that it portrays the very_temptation "to ideology and its price."_Here projection is also "deflected."_One merely_observes the "price." Storr writes_that these "cool_black-and-white photo-based-images"_depict in wholly_indeterminate (blurred) ways the "controversial lives_and deaths of_four German social activists turned terrorists."_The_first exhibitions in_America_were_accompanied by_documentary details of_the_years leading_to_the German Autumn, with copies of_the_original images (television, newspaper, and police archive)_from which Richter worked._While_Richter insisted on the_paintings being received as paintings,_he also understood that the reception_required the_apparatus of_the actual events leading to the series. This latter supplement is_typically repressed, and constitutes a portion_of the transcendental field_of art_insofar_as it is_reconstituted_from memory_or, as is often the case, through_art criticism/scholarship._Synonymy between Token-Reflexive Expressions Abstract Synonymy,_at its most basic,_is_sameness of meaning. A token-reflexive expression_is an expression whose meaning assigns_a referent to its tokens_by_relating_each particular token of that_particular expression to its referent. In_doing so, the_formulation of its meaning mentions the particular_expression_whose meaning it is. This seems_to_entail that no two token-reflexive expressions_are_synonymous,_which would constitute a strong_objection against token-reflexive semantics. In this_paper, I propose and defend a notion of synonymy_for token-reflexive expressions_that allows such expressions to_be_synonymous,_while being a fairly conservative extension of the customary notion_of synonymy.