13 ideas
| 8921 | Structuralism is now common, studying relations, with no regard for what the objects might be [Hellman] |
| Full Idea: With developments in modern mathematics, structuralist ideas have become commonplace. We study 'abstract structures', having relations without regard to the objects. As Hilbert famously said, items of furniture would do. | |
| From: Geoffrey Hellman (Structuralism [2007], §1) | |
| A reaction: Hilbert is known as a Formalist, which suggests that modern Structuralism is a refined and more naturalist version of the rather austere formalist view. Presumably the sofa can't stand for six, so a structural definition of numbers is needed. |
| 8698 | Modal structuralism says mathematics studies possible structures, which may or may not be actualised [Hellman, by Friend] |
| Full Idea: The modal structuralist thinks of mathematical structures as possibilities. The application of mathematics is just the realisation that a possible structure is actualised. As structures are possibilities, realist ontological problems are avoided. | |
| From: report of Geoffrey Hellman (Mathematics without Numbers [1989]) by Michèle Friend - Introducing the Philosophy of Mathematics 4.3 | |
| A reaction: Friend criticises this and rejects it, but it is appealing. Mathematics should aim to be applicable to any possible world, and not just the actual one. However, does the actual world 'actualise a mathematical structure'? |
| 9557 | Statements of pure mathematics are elliptical for a sort of modal conditional [Hellman, by Chihara] |
| Full Idea: Hellman represents statements of pure mathematics as elliptical for modal conditionals of a certain sort. | |
| From: report of Geoffrey Hellman (Mathematics without Numbers [1989]) by Charles Chihara - A Structural Account of Mathematics 5.3 | |
| A reaction: It's a pity there is such difficulty in understanding conditionals (see Graham Priest on the subject). I intuit a grain of truth in this, though I take maths to reflect the structure of the actual world (with possibilities being part of that world). |
| 10263 | Modal structuralism can only judge possibility by 'possible' models [Shapiro on Hellman] |
| Full Idea: The usual way to show that a sentence is possible is to show that it has a model, but for Hellman presumably a sentence is possible if it might have a model (or if, possibly, it has a model). It is not clear what this move brings us. | |
| From: comment on Geoffrey Hellman (Mathematics without Numbers [1989]) by Stewart Shapiro - Philosophy of Mathematics 7.3 | |
| A reaction: I can't assess this, but presumably the possibility of the model must be demonstrated in some way. Aren't all models merely possible, because they are based on axioms, which seem to be no more than possibilities? |
| 8922 | Maybe mathematical objects only have structural roles, and no intrinsic nature [Hellman] |
| Full Idea: There is the tantalizing possibility that perhaps mathematical objects 'have no nature' at all, beyond their 'structural role'. | |
| From: Geoffrey Hellman (Structuralism [2007], §1) | |
| A reaction: This would fit with a number being a function rather than an object. We are interested in what cars do, not the bolts that hold them together? But the ontology of mathematics is quite separate from how you do mathematics. |
| 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. |
| 1513 | The Egyptians were the first to say the soul is immortal and reincarnated [Herodotus] |
| Full Idea: The Egyptians were the first to claim that the soul of a human being is immortal, and that each time the body dies the soul enters another creature just as it is being born. | |
| From: Herodotus (The Histories [c.435 BCE], 2.123.2) |