33 ideas
| 10775 | The axiom of choice now seems acceptable and obvious (if it is meaningful) [Tharp] |
| Full Idea: The main objection to the axiom of choice was that it had to be given by some law or definition, but since sets are arbitrary this seems irrelevant. Formalists consider it meaningless, but set-theorists consider it as true, and practically obvious. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §3) |
| 10766 | Logic is either for demonstration, or for characterizing structures [Tharp] |
| Full Idea: One can distinguish at least two quite different senses of logic: as an instrument of demonstration, and perhaps as an instrument for the characterization of structures. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) | |
| A reaction: This is trying to capture the proof-theory and semantic aspects, but merely 'characterizing' something sounds like a rather feeble aspiration for the semantic side of things. Isn't it to do with truth, rather than just rule-following? |
| 10767 | Elementary logic is complete, but cannot capture mathematics [Tharp] |
| Full Idea: Elementary logic cannot characterize the usual mathematical structures, but seems to be distinguished by its completeness. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) |
| 10769 | Second-order logic isn't provable, but will express set-theory and classic problems [Tharp] |
| Full Idea: The expressive power of second-order logic is too great to admit a proof procedure, but is adequate to express set-theoretical statements, and open questions such as the continuum hypothesis or the existence of big cardinals are easily stated. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) |
| 10762 | In sentential logic there is a simple proof that all truth functions can be reduced to 'not' and 'and' [Tharp] |
| Full Idea: In sentential logic there is a simple proof that all truth functions, of any number of arguments, are definable from (say) 'not' and 'and'. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §0) | |
| A reaction: The point of 'say' is that it can be got down to two connectives, and these are just the usual preferred pair. |
| 10776 | The main quantifiers extend 'and' and 'or' to infinite domains [Tharp] |
| Full Idea: The symbols ∀ and ∃ may, to start with, be regarded as extrapolations of the truth functional connectives ∧ ('and') and ∨ ('or') to infinite domains. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §5) |
| 10774 | There are at least five unorthodox quantifiers that could be used [Tharp] |
| Full Idea: One might add to one's logic an 'uncountable quantifier', or a 'Chang quantifier', or a 'two-argument quantifier', or 'Shelah's quantifier', or 'branching quantifiers'. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §3) | |
| A reaction: [compressed - just listed for reference, if you collect quantifiers, like collecting butterflies] |
| 10773 | The Löwenheim-Skolem property is a limitation (e.g. can't say there are uncountably many reals) [Tharp] |
| Full Idea: The Löwenheim-Skolem property seems to be undesirable, in that it states a limitation concerning the distinctions the logic is capable of making, such as saying there are uncountably many reals ('Skolem's Paradox'). | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) |
| 10777 | Skolem mistakenly inferred that Cantor's conceptions were illusory [Tharp] |
| Full Idea: Skolem deduced from the Löwenheim-Skolem theorem that 'the absolutist conceptions of Cantor's theory' are 'illusory'. I think it is clear that this conclusion would not follow even if elementary logic were in some sense the true logic, as Skolem assumed. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §7) | |
| A reaction: [Tharp cites Skolem 1962 p.47] Kit Fine refers to accepters of this scepticism about the arithmetic of infinities as 'Skolemites'. |
| 10765 | Soundness would seem to be an essential requirement of a proof procedure [Tharp] |
| Full Idea: Soundness would seem to be an essential requirement of a proof procedure, since there is little point in proving formulas which may turn out to be false under some interpretation. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) |
| 10763 | Completeness and compactness together give axiomatizability [Tharp] |
| Full Idea: Putting completeness and compactness together, one has axiomatizability. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §1) |
| 10770 | If completeness fails there is no algorithm to list the valid formulas [Tharp] |
| Full Idea: In general, if completeness fails there is no algorithm to list the valid formulas. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) | |
| A reaction: I.e. the theory is not effectively enumerable. |
| 10771 | Compactness is important for major theories which have infinitely many axioms [Tharp] |
| Full Idea: It is strange that compactness is often ignored in discussions of philosophy of logic, since the most important theories have infinitely many axioms. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) | |
| A reaction: An example of infinite axioms is the induction schema in first-order Peano Arithmetic. |
| 10772 | Compactness blocks infinite expansion, and admits non-standard models [Tharp] |
| Full Idea: The compactness condition seems to state some weakness of the logic (as if it were futile to add infinitely many hypotheses). To look at it another way, formalizations of (say) arithmetic will admit of non-standard models. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) |
| 10764 | A complete logic has an effective enumeration of the valid formulas [Tharp] |
| Full Idea: A complete logic has an effective enumeration of the valid formulas. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) |
| 10768 | Effective enumeration might be proved but not specified, so it won't guarantee knowledge [Tharp] |
| Full Idea: Despite completeness, the mere existence of an effective enumeration of the valid formulas will not, by itself, provide knowledge. For example, one might be able to prove that there is an effective enumeration, without being able to specify one. | |
| From: Leslie H. Tharp (Which Logic is the Right Logic? [1975], §2) | |
| A reaction: The point is that completeness is supposed to ensure knowledge (of what is valid but unprovable), and completeness entails effective enumerability, but more than the latter is needed to do the key job. |
| 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) |
| 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. |
| 19941 | Thou shalt love thy neighbour as thyself [Anon (Leviticus)] |
| Full Idea: Thou shalt love thy neighbour as thyself. | |
| From: Anon (Lev) (03: Book of Leviticus [c.700 BCE], 19.18) | |
| A reaction: Most Christians think Jesus originated this thought. Interestingly, this precedes Socrates, who taught a similar idea. |