28 ideas
| 17453 | The meaning of a number isn't just the numerals leading up to it [Heck] |
| Full Idea: My knowing what the number '33' denotes cannot consist in my knowing that it denotes the number of decimal numbers between '1' and '33', because I would know that even if it were in hexadecimal (which I don't know well). | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 5) | |
| A reaction: Obviously you wouldn't understand '33' if you didn't understand what '33 things' meant. |
| 17457 | A basic grasp of cardinal numbers needs an understanding of equinumerosity [Heck] |
| Full Idea: An appreciation of the connection between sameness of number and equinumerosity that it reports is essential to even the most primitive grasp of the concept of cardinal number. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 6) |
| 17448 | In counting, numerals are used, not mentioned (as objects that have to correlated) [Heck] |
| Full Idea: One need not conceive of the numerals as objects in their own right in order to count. The numerals are not mentioned in counting (as objects to be correlated with baseball players), but are used. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 3) | |
| A reaction: He observes that when you name the team, you aren't correlating a list of names with the players. I could correlate any old tags with some objects, and you could tell me the cardinality denoted by the last tag. I do ordinals, you do cardinals. |
| 17455 | Is counting basically mindless, and independent of the cardinality involved? [Heck] |
| Full Idea: I am not denying that counting can be done mindlessly, without making judgments of cardinality along the way. ...But the question is whether counting is, as it were, fundamentally a mindless exercise. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 5) | |
| A reaction: He says no. It seems to me like going on a journey, where you can forget where you are going and where you have got to so far, but those underlying facts are always there. If you just tag things with unknown foreign numbers, you aren't really counting. |
| 17456 | Counting is the assignment of successively larger cardinal numbers to collections [Heck] |
| Full Idea: Counting is not mere tagging: it is the successive assignment of cardinal numbers to increasingly large collections of objects. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 5) | |
| A reaction: That the cardinals are 'successive' seems to mean that they are ordinals as well. If you don't know that 'seven' means a cardinality, as well as 'successor of six', you haven't understood it. Days of the week have successors. Does PA capture cardinality? |
| 17450 | Understanding 'just as many' needn't involve grasping one-one correspondence [Heck] |
| Full Idea: It is far from obvious that knowing what 'just as many' means requires knowing what a one-one correspondence is. The notion of a one-one correspondence is very sophisticated, and it is far from clear that five-year-olds have any grasp of it. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 4) | |
| A reaction: The point is that children decide 'just as many' by counting each group and arriving at the same numeral, not by matching up. He cites psychological research by Gelman and Galistel. |
| 17451 | We can know 'just as many' without the concepts of equinumerosity or numbers [Heck] |
| Full Idea: 'Just as many' is independent of the ability to count, and we shouldn't characterise equinumerosity through counting. It is also independent of the concept of number. Enough cookies to go round doesn't need how many cookies. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 4) | |
| A reaction: [compressed] He talks of children having an 'operational' ability which is independent of these more sophisticated concepts. Interesting. You see how early man could relate 'how many' prior to the development of numbers. |
| 17459 | Frege's Theorem explains why the numbers satisfy the Peano axioms [Heck] |
| Full Idea: The interest of Frege's Theorem is that it offers us an explanation of the fact that the numbers satisfy the Dedekind-Peano axioms. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 6) | |
| A reaction: He says 'explaining' does not make it more fundamental, since all proofs explain why their conclusions hold. |
| 17454 | Children can use numbers, without a concept of them as countable objects [Heck] |
| Full Idea: For a long time my daughter had no understanding of the question of how many numerals or numbers there are between 'one' and 'five'. I think she lacked the concept of numerals as objects which can themselves be counted. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 5) | |
| A reaction: I can't make any sense of numbers actually being objects, though clearly treating all sorts of things as objects helps thinking (as in 'the victory is all that matters'). |
| 17449 | We can understand cardinality without the idea of one-one correspondence [Heck] |
| Full Idea: One can have a perfectly serviceable concept of cardinality without so much as having the concept of one-one correspondence. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 3) | |
| A reaction: This is the culmination of a lengthy discussion. It includes citations about the psychology of children's counting. Cardinality needs one group of things, and 1-1 needs two groups. |
| 17458 | Equinumerosity is not the same concept as one-one correspondence [Heck] |
| Full Idea: Equinumerosity is not the same concept as being in one-one correspondence with. | |
| From: Richard G. Heck (Cardinality, Counting and Equinumerosity [2000], 6) | |
| A reaction: He says this is the case, even if they are coextensive, like renate and cordate. You can see that five loaves are equinumerous with five fishes, without doing a one-one matchup. |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 3061 | Anaxarchus said that he was not even sure that he knew nothing [Anaxarchus, by Diog. Laertius] |
| Full Idea: Anaxarchus said that he was not even sure that he knew nothing. | |
| From: report of Anaxarchus (fragments/reports [c.340 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 09.10.1 |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |