22 ideas
| 10147 | The Axiom of Choice is consistent with the other axioms of set theory [Feferman/Feferman] |
| Full Idea: In 1938 Gödel proved that the Axiom of Choice is consistent with the other axioms of set theory. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I) | |
| A reaction: Hence people now standardly accept ZFC, rather than just ZF. |
| 10148 | Axiom of Choice: a set exists which chooses just one element each of any set of sets [Feferman/Feferman] |
| Full Idea: Zermelo's Axiom of Choice asserts that for any set of non-empty sets that (pairwise) have no elements in common, then there is a set that 'simultaneously chooses' exactly one element from each set. Note that this is an existential claim. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I) | |
| A reaction: The Axiom is now widely accepted, after much debate in the early years. Even critics of the Axiom turn out to be relying on it. |
| 10149 | Platonist will accept the Axiom of Choice, but others want criteria of selection or definition [Feferman/Feferman] |
| Full Idea: The Axiom of Choice seems clearly true from the Platonistic point of view, independently of how sets may be defined, but is rejected by those who think such existential claims must show how to pick out or define the object claimed to exist. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I) | |
| A reaction: The typical critics are likely to be intuitionists or formalists, who seek for both rigour and a plausible epistemology in our theory. |
| 10150 | The Trichotomy Principle is equivalent to the Axiom of Choice [Feferman/Feferman] |
| Full Idea: The Trichotomy Principle (any number is less, equal to, or greater than, another number) turned out to be equivalent to the Axiom of Choice. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I) | |
| A reaction: [He credits Sierpinski (1918) with this discovery] |
| 10146 | Cantor's theories needed the Axiom of Choice, but it has led to great controversy [Feferman/Feferman] |
| Full Idea: The Axiom of Choice is a pure existence statement, without defining conditions. It was necessary to provide a foundation for Cantor's theory of transfinite cardinals and ordinal numbers, but its nonconstructive character engendered heated controversy. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I) |
| 10158 | A structure is a 'model' when the axioms are true. So which of the structures are models? [Feferman/Feferman] |
| Full Idea: A structure is said to be a 'model' of an axiom system if each of its axioms is true in the structure (e.g. Euclidean or non-Euclidean geometry). 'Model theory' concerns which structures are models of a given language and axiom system. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V) | |
| A reaction: This strikes me as the most interesting aspect of mathematical logic, since it concerns the ways in which syntactic proof-systems actually connect with reality. Tarski is the central theoretician here, and his theory of truth is the key. |
| 10162 | Tarski and Vaught established the equivalence relations between first-order structures [Feferman/Feferman] |
| Full Idea: In the late 1950s Tarski and Vaught defined and established basic properties of the relation of elementary equivalence between two structures, which holds when they make true exactly the same first-order sentences. This is fundamental to model theory. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V) | |
| A reaction: This is isomorphism, which clarifies what a model is by giving identity conditions between two models. Note that it is 'first-order', and presumably founded on classical logic. |
| 10160 | Löwenheim-Skolem says if the sentences are countable, so is the model [Feferman/Feferman] |
| Full Idea: The Löwenheim-Skolem Theorem, the earliest in model theory, states that if a countable set of sentences in a first-order language has a model, then it has a countable model. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V) | |
| A reaction: There are 'upward' (sentences-to-model) and 'downward' (model-to-sentences) versions of the theory. |
| 10159 | Löwenheim-Skolem Theorem, and Gödel's completeness of first-order logic, the earliest model theory [Feferman/Feferman] |
| Full Idea: Before Tarski's work in the 1930s, the main results in model theory were the Löwenheim-Skolem Theorem, and Gödel's establishment in 1929 of the completeness of the axioms and rules for the classical first-order predicate (or quantificational) calculus. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V) |
| 10161 | If a sentence holds in every model of a theory, then it is logically derivable from the theory [Feferman/Feferman] |
| Full Idea: Completeness is when, if a sentences holds in every model of a theory, then it is logically derivable from that theory. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V) |
| 10156 | 'Recursion theory' concerns what can be solved by computing machines [Feferman/Feferman] |
| Full Idea: 'Recursion theory' is the subject of what can and cannot be solved by computing machines | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Ch.9) | |
| A reaction: This because 'recursion' will grind out a result step-by-step, as long as the steps will 'halt' eventually. |
| 10155 | Both Principia Mathematica and Peano Arithmetic are undecidable [Feferman/Feferman] |
| Full Idea: In 1936 Church showed that Principia Mathematica is undecidable if it is ω-consistent, and a year later Rosser showed that Peano Arithmetic is undecidable, and any consistent extension of it. | |
| From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int IV) |
| 18933 | Not-Being obviously doesn't exist, and the five modes of Being are all impossible [Gorgias, by Diog. Laertius] |
| Full Idea: I. Nothing exists. a) Not-Being does not exist. b) Being does not exist as everlasting, as created, as both, as One, or as Many. II. If anything does exist, it is incomprehensible. III. If existence is comprehensible, it is incommunicable. | |
| From: report of Gorgias (fragments/reports [c.443 BCE], B03) by Diogenes Laertius - Lives of Eminent Philosophers 09 | |
| A reaction: [Also Sextus Empiricus, Against Logicians I.65-] For Part I he works through all the possible modes of being he can think of, and explains why none of them are possible. It is worth remembering that Gorgias loved rhetoric, not philosophy! |
| 5864 | Destroy seriousness with laughter, and laughter with seriousness [Gorgias] |
| Full Idea: Destroy the seriousness of others with laughter, and their laughter with seriousness. | |
| From: Gorgias (fragments/reports [c.443 BCE]), quoted by Aristotle - The Art of Rhetoric 1419b | |
| A reaction: This sounds like brilliant tactical advice, which should be on the wall of every barrister's chambers. This is a case of rhetoric having something to teach us which is nothing at all to do with truth. It is more like learning karate. |
| 9866 | Gorgias says rhetoric is the best of arts, because it enslaves without using force [Gorgias, by Plato] |
| Full Idea: Gorgias insists that the art of persuasion is superior to all others because it enslaves all the rest, with their own consent, not by force, and is therefore by far the best of all the arts. | |
| From: report of Gorgias (fragments/reports [c.443 BCE]) by Plato - Philebus 58a | |
| A reaction: A nice point, and it is not unreasonable to rank the arts in order of their power. To enchant, without achieving agreement, and to speak truth without persuading, are both very fine, but there is something about success that cannot be gainsaid. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |