24 ideas
| 13030 | Extensionality: ∀x ∀y (∀z (z ∈ x ↔ z ∈ y) → x = y) [Kunen] |
| Full Idea: Axiom of Extensionality: ∀x ∀y (∀z (z ∈ x ↔ z ∈ y) → x = y). That is, a set is determined by its members. If every z in one set is also in the other set, then the two sets are the same. | |
| From: Kenneth Kunen (Set Theory [1980], §1.5) |
| 13032 | Pairing: ∀x ∀y ∃z (x ∈ z ∧ y ∈ z) [Kunen] |
| Full Idea: Axiom of Pairing: ∀x ∀y ∃z (x ∈ z ∧ y ∈ z). Any pair of entities must form a set. | |
| From: Kenneth Kunen (Set Theory [1980], §1.6) | |
| A reaction: Repeated applications of this can build the hierarchy of sets. |
| 13033 | Union: ∀F ∃A ∀Y ∀x (x ∈ Y ∧ Y ∈ F → x ∈ A) [Kunen] |
| Full Idea: Axiom of Union: ∀F ∃A ∀Y ∀x (x ∈ Y ∧ Y ∈ F → x ∈ A). That is, the union of a set (all the members of the members of the set) must also be a set. | |
| From: Kenneth Kunen (Set Theory [1980], §1.6) |
| 13037 | Infinity: ∃x (0 ∈ x ∧ ∀y ∈ x (S(y) ∈ x) [Kunen] |
| Full Idea: Axiom of Infinity: ∃x (0 ∈ x ∧ ∀y ∈ x (S(y) ∈ x). That is, there is a set which contains zero and all of its successors, hence all the natural numbers. The principal of induction rests on this axiom. | |
| From: Kenneth Kunen (Set Theory [1980], §1.7) |
| 13038 | Power Set: ∀x ∃y ∀z(z ⊂ x → z ∈ y) [Kunen] |
| Full Idea: Power Set Axiom: ∀x ∃y ∀z(z ⊂ x → z ∈ y). That is, there is a set y which contains all of the subsets of a given set. Hence we define P(x) = {z : z ⊂ x}. | |
| From: Kenneth Kunen (Set Theory [1980], §1.10) |
| 13034 | Replacement: ∀x∈A ∃!y φ(x,y) → ∃Y ∀X∈A ∃y∈Y φ(x,y) [Kunen] |
| Full Idea: Axiom of Replacement Scheme: ∀x ∈ A ∃!y φ(x,y) → ∃Y ∀X ∈ A ∃y ∈ Y φ(x,y). That is, any function from a set A will produce another set Y. | |
| From: Kenneth Kunen (Set Theory [1980], §1.6) |
| 13039 | Foundation:∀x(∃y(y∈x) → ∃y(y∈x ∧ ¬∃z(z∈x ∧ z∈y))) [Kunen] |
| Full Idea: Axiom of Foundation: ∀x (∃y(y ∈ x) → ∃y(y ∈ x ∧ ¬∃z(z ∈ x ∧ z ∈ y))). Aka the 'Axiom of Regularity'. Combined with Choice, it means there are no downward infinite chains. | |
| From: Kenneth Kunen (Set Theory [1980], §3.4) |
| 13036 | Choice: ∀A ∃R (R well-orders A) [Kunen] |
| Full Idea: Axiom of Choice: ∀A ∃R (R well-orders A). That is, for every set, there must exist another set which imposes a well-ordering on it. There are many equivalent versions. It is not needed in elementary parts of set theory. | |
| From: Kenneth Kunen (Set Theory [1980], §1.6) |
| 13029 | Set Existence: ∃x (x = x) [Kunen] |
| Full Idea: Axiom of Set Existence: ∃x (x = x). This says our universe is non-void. Under most developments of formal logic, this is derivable from the logical axioms and thus redundant, but we do so for emphasis. | |
| From: Kenneth Kunen (Set Theory [1980], §1.5) |
| 13031 | Comprehension: ∃y ∀x (x ∈ y ↔ x ∈ z ∧ φ) [Kunen] |
| Full Idea: Comprehension Scheme: for each formula φ without y free, the universal closure of this is an axiom: ∃y ∀x (x ∈ y ↔ x ∈ z ∧ φ). That is, there must be a set y if it can be defined by the formula φ. | |
| From: Kenneth Kunen (Set Theory [1980], §1.5) | |
| A reaction: Unrestricted comprehension leads to Russell's paradox, so restricting it in some way (e.g. by the Axiom of Specification) is essential. |
| 13040 | Constructibility: V = L (all sets are constructible) [Kunen] |
| Full Idea: Axiom of Constructability: this is the statement V = L (i.e. ∀x ∃α(x ∈ L(α)). That is, the universe of well-founded von Neumann sets is the same as the universe of sets which are actually constructible. A possible axiom. | |
| From: Kenneth Kunen (Set Theory [1980], §6.3) |
| 17699 | Variables are auxiliary notions, and not part of the 'eternal' essence of logic [Schönfinkel] |
| Full Idea: A variable in a proposition of logic ....has the status of a mere auxiliary notion that is really inappropriate to the constant, 'eternal' essence of the propositions of logic. | |
| From: Moses Schönfinkel (Building Blocks of Mathematical Logic [1924], §1) | |
| A reaction: He presumably thinks that what the variables stand for (and he mentions 'argument places' and 'operators') will be included in the essence. My attention was caught by the thought that he takes logic to have an essence. |
| 18465 | An 'equivalence' relation is one which is reflexive, symmetric and transitive [Kunen] |
| Full Idea: R is an equivalence relation on A iff R is reflexive, symmetric and transitive on A. | |
| From: Kenneth Kunen (The Foundations of Mathematics (2nd ed) [2012], I.7.1) |
| 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. |
| 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. |