6 ideas
| 18946 | Unreflectively, we all assume there are nonexistents, and we can refer to them [Reimer] |
| Full Idea: As speakers of the language, we unreflectively assume that there are nonexistents, and that reference to them is possible. | |
| From: Marga Reimer (The Problem of Empty Names [2001], p.499), quoted by Sarah Sawyer - Empty Names 4 | |
| A reaction: Sarah Swoyer quotes this as a good solution to the problem of empty names, and I like it. It introduces a two-tier picture of our understanding of the world, as 'unreflective' and 'reflective', but that seems good. We accept numbers 'unreflectively'. |
| 17809 | Gödel showed that the syntactic approach to the infinite is of limited value [Kreisel] |
| Full Idea: Usually Gödel's incompleteness theorems are taken as showing a limitation on the syntactic approach to an understanding of the concept of infinity. | |
| From: Georg Kreisel (Hilbert's Programme [1958], 05) |
| 17810 | The study of mathematical foundations needs new non-mathematical concepts [Kreisel] |
| Full Idea: It is necessary to use non-mathematical concepts, i.e. concepts lacking the precision which permit mathematical manipulation, for a significant approach to foundations. We currently have no concepts of this kind which we can take seriously. | |
| From: Georg Kreisel (Hilbert's Programme [1958], 06) | |
| A reaction: Music to the ears of any philosopher of mathematics, because it means they are not yet out of a job. |
| 20422 | The experience of expression and communication are intermingled in art [Croce] |
| Full Idea: It is very difficult to perceive the frontier between expression and communication in actual fact, for the two processes usually alternate rapidly and are almost intermingled. | |
| From: Benedetto Croce (The Essence of Aesthetic [1912]), quoted by Gary Kemp - Croce and Collingwood | |
| A reaction: [text unsure] I think he is getting at seeing the painting (or whatever) as a physical object, and seeing it as the experience which results from the object. The alternation of the objective and subjective views. Reminds me of Thomas Nagel. |
| 7270 | Historical interpretation aims to recapture the author's view of the work [Croce] |
| Full Idea: Historical interpretation enables us to see a work of art as its author saw it in the moment of production. | |
| From: Benedetto Croce (Aesthetic as Science of Expression [1902], §II), quoted by W Wimsatt/W Beardsley - The Intentional Fallacy §II | |
| A reaction: Wimsatt and Beardsley quote this as the romantic antithesis of their own view, but there is a blurring between understanding a work and judging. Personally I consider intentions essential for understanding, and valuable for judgement. |
| 17811 | The natural conception of points ducks the problem of naming or constructing each point [Kreisel] |
| Full Idea: In analysis, the most natural conception of a point ignores the matter of naming the point, i.e. how the real number is represented or by what constructions the point is reached from given points. | |
| From: Georg Kreisel (Hilbert's Programme [1958], 13) | |
| A reaction: This problem has bothered me. There are formal ways of constructing real numbers, but they don't seem to result in a name for each one. |