Nelson Goodman was a prominent philosophical figure of the mid-twentieth century whose highly significant theories in Logic, Philosophy of Language, Philosophy of Science, and Aesthetics has continued to have applicability in the twenty- first century. His pioneering works such as The Structure of Appearance (1951), Fact, Fiction, Forecast (1954), Ways of Worldmaking (1978), Languages of Art (1968), and Of Mind and Other Matters (1984) encompass his innovative philosophical ideas. Goodman’s philosophy has inspired abundant subjects for discussion in researchers from every corner of the globe. However, his notions are still in a long wait to be received in all respects. The following have been chosen to illustrate the trace of Goodman’s thinking…show more content… Further, Goodman’s aesthetic principles in Languages of Art become the focal point for Beardsley to consider its propositions for art criticism. (1978, 95-118), and become the central issue for Morawski to comment on “cognition” and “aesthetic experience” (1978, 119-128). In a short article, his “two theories of meaning” concerning predicates are discussed by Hendry (1980, 321-324). Goodman’s viewpoints on “pictorial representation” are also argued in a paper in which the authors follow Gibson in order to show their disagreement with Goodman’s “realism as a matter of habit” (Jones, Reed, and Hagen, 1980). Moreover, Coldron, by using “an actual musical example”, examines Goodman’s concepts of “exemplification” and “metaphor” in his thesis (1982, 1-220). Central to How Classification Works is the way Goodman had some bearing on the social sciences (Douglas and Hull, 1992). In “Worldmaker: Nelson Goodman”, Elgin provides readers with a brief explanation on Goodman’s professional life and with a general view on his set of theories (2000,…show more content… He had an active participation in various art projects, such as Harvard Project Zoo, Dance Center, Arts Orientation Series, Arts for Summer School, etc. His groundbreaking work, Languages of Art, illustrates his fascination with arts in his line of reasoning. He reflects upon arts in the scope of analytical philosophy, hence he investigates nonverbal representations, like paintings for instance, on the basis of “systematic analysis”. Indeed, Goodman holds “a neutral comparative study” (Goodman and Elgin 31) of art and disproves absolute labeling or categorization. For the same token, his aesthetic concepts are not confined to other methodologies such as a Formalistic emphasis on style, an Iconographic focus on content, contextual approaches like feminism and Marxism, Biographical and autobiographical method, and Psychoanalytic view of artistic media: “My subject is the nature and varieties of reference, regardless of how or when or why or by whom that reference is effected” (Goodman, 1984: 55). As stated by Mitchell in Picture Theory, Goodman does not fully include “values, knowledge, and history in his system” (346-347). Thus, his neutral method centers on the way symbols of a particular artwork function. According to his research assistant, Robert Schwartz, Goodman’s arguments suggest that “artistic production