22 ideas
| 12452 | Our dislike of contradiction in logic is a matter of psychology, not mathematics [Brouwer] |
| Full Idea: Not to the mathematician, but to the psychologist, belongs the task of explaining why ...we are averse to so-called contradictory systems in which the negative as well as the positive of certain propositions are valid. | |
| From: Luitzen E.J. Brouwer (Intuitionism and Formalism [1912], p.79) | |
| A reaction: Was the turning point of Graham Priest's life the day he read this sentence? I don't agree. I take the principle of non-contradiction to be a highly generalised observation of how the world works (and Russell agrees with me). |
| 15941 | For intuitionists excluded middle is an outdated historical convention [Brouwer] |
| Full Idea: From the intuitionist standpoint the dogma of the universal validity of the principle of excluded third in mathematics can only be considered as a phenomenon of history of civilization, like the rationality of pi or rotation of the sky about the earth. | |
| From: Luitzen E.J. Brouwer (works [1930]), quoted by Shaughan Lavine - Understanding the Infinite VI.2 | |
| A reaction: [Brouwer 1952:510-11] |
| 18119 | Mathematics is a mental activity which does not use language [Brouwer, by Bostock] |
| Full Idea: Brouwer made the rather extraordinary claim that mathematics is a mental activity which uses no language. | |
| From: report of Luitzen E.J. Brouwer (Mathematics, Science and Language [1928]) by David Bostock - Philosophy of Mathematics 7.1 | |
| A reaction: Since I take language to have far less of a role in thought than is commonly believed, I don't think this idea is absurd. I would say that we don't use language much when we are talking! |
| 18247 | Brouwer saw reals as potential, not actual, and produced by a rule, or a choice [Brouwer, by Shapiro] |
| Full Idea: In his early writing, Brouwer took a real number to be a Cauchy sequence determined by a rule. Later he augmented rule-governed sequences with free-choice sequences, but even then the attitude is that Cauchy sequences are potential, not actual infinities. | |
| From: report of Luitzen E.J. Brouwer (works [1930]) by Stewart Shapiro - Philosophy of Mathematics 6.6 | |
| A reaction: This is the 'constructivist' view of numbers, as espoused by intuitionists like Brouwer. |
| 12451 | Scientific laws largely rest on the results of counting and measuring [Brouwer] |
| Full Idea: A large part of the natural laws introduced by science treat only of the mutual relations between the results of counting and measuring. | |
| From: Luitzen E.J. Brouwer (Intuitionism and Formalism [1912], p.77) | |
| A reaction: His point, I take it, is that the higher reaches of numbers have lost touch with the original point of the system. I now see the whole issue as just depending on conventions about the agreed extension of the word 'number'. |
| 18118 | Brouwer regards the application of mathematics to the world as somehow 'wicked' [Brouwer, by Bostock] |
| Full Idea: Brouwer regards as somehow 'wicked' the idea that mathematics can be applied to a non-mental subject matter, the physical world, and that it might develop in response to the needs which that application reveals. | |
| From: report of Luitzen E.J. Brouwer (Mathematics, Science and Language [1928]) by David Bostock - Philosophy of Mathematics 7.1 | |
| A reaction: The idea is that mathematics only concerns creations of the human mind. It presumably has no more application than, say, noughts-and-crosses. |
| 12454 | Intuitionists only accept denumerable sets [Brouwer] |
| Full Idea: The intuitionist recognises only the existence of denumerable sets. | |
| From: Luitzen E.J. Brouwer (Intuitionism and Formalism [1912], p.80) | |
| A reaction: That takes you up to omega, but not beyond, presumably because it then loses sight of the original intuition of 'bare two-oneness' (Idea 12453). I sympathise, but the word 'number' has shifted its meaning a lot these days. |
| 12453 | Neo-intuitionism abstracts from the reuniting of moments, to intuit bare two-oneness [Brouwer] |
| Full Idea: Neo-intuitionism sees the falling apart of moments, reunited while remaining separated in time, as the fundamental phenomenon of human intellect, passing by abstracting to mathematical thinking, the intuition of bare two-oneness. | |
| From: Luitzen E.J. Brouwer (Intuitionism and Formalism [1912], p.80) | |
| A reaction: [compressed] A famous and somewhat obscure idea. He goes on to say that this creates one and two, and all the finite ordinals. |
| 8728 | Intuitionist mathematics deduces by introspective construction, and rejects unknown truths [Brouwer] |
| Full Idea: Mathematics rigorously treated from the point of view of deducing theorems exclusively by means of introspective construction, is called intuitionistic mathematics. It deviates from classical mathematics, which believes in unknown truths. | |
| From: Luitzen E.J. Brouwer (Consciousness, Philosophy and Mathematics [1948]), quoted by Stewart Shapiro - Thinking About Mathematics 1.2 | |
| A reaction: Clearly intuitionist mathematics is a close cousin of logical positivism and the verification principle. This view would be anathema to Frege, because it is psychological. Personally I believe in the existence of unknown truths, big time! |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 5997 | Dicaearchus said soul does not exist, but is just a configuration of the body [Dicaearchus, by Fortenbaugh] |
| Full Idea: Dicaearchus advanced the view that mind and soul do not exist; there is only body configured in a certain way. | |
| From: report of Dicaearchus (On the Soul (frags) [c.320 BCE]) by William W. Fortenbaugh - Dicaearchus | |
| A reaction: Pure eliminativism! It is hard to find even ruthless modern physicalists taking such a bold view. Note that he is a pupil of Aristotle, and this does not sound like a major disagreement with his teacher's views. |
| 10117 | Intuitonists in mathematics worried about unjustified assertion, as well as contradiction [Brouwer, by George/Velleman] |
| Full Idea: The concern of mathematical intuitionists was that the use of certain forms of inference generates, not contradiction, but unjustified assertions. | |
| From: report of Luitzen E.J. Brouwer (Intuitionism and Formalism [1912]) by A.George / D.J.Velleman - Philosophies of Mathematics Ch.6 | |
| A reaction: This seems to be the real origin of the verificationist idea in the theory of meaning. It is a hugely revolutionary idea - that ideas are not only ruled out of court by contradiction, but that there are other criteria which should also be met. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |