26 ideas
| 9967 | 'Impure' sets have a concrete member, while 'pure' (abstract) sets do not [Jubien] |
| Full Idea: Any set with a concrete member is 'impure'. 'Pure' sets are those that are not impure, and are paradigm cases of abstract entities, such as the sort of sets apparently dealt with in Zermelo-Fraenkel (ZF) set theory. | |
| From: Michael Jubien (Ontology and Mathematical Truth [1977], p.116) | |
| A reaction: [I am unclear whether Jubien is introducing this distinction] This seems crucial in accounts of mathematics. On the one had arithmetic can be built from Millian pebbles, giving impure sets, while logicists build it from pure sets. |
| 9968 | A model is 'fundamental' if it contains only concrete entities [Jubien] |
| Full Idea: A first-order model can be viewed as a kind of ordered set, and if the domain of the model contains only concrete entities then it is a 'fundamental' model. | |
| From: Michael Jubien (Ontology and Mathematical Truth [1977], p.117) | |
| A reaction: An important idea. Fundamental models are where the world of logic connects with the physical world. Any account of relationship between fundamental models and more abstract ones tells us how thought links to world. |
| 9965 | There couldn't just be one number, such as 17 [Jubien] |
| Full Idea: It makes no sense to suppose there might be just one natural number, say seventeen. | |
| From: Michael Jubien (Ontology and Mathematical Truth [1977], p.113) | |
| A reaction: Hm. Not convinced. If numbers are essentially patterns, we might only have the number 'twelve', because we had built our religion around anything which exhibited that form (in any of its various arrangements). Nice point, though. |
| 9966 | The subject-matter of (pure) mathematics is abstract structure [Jubien] |
| Full Idea: The subject-matter of (pure) mathematics is abstract structure per se. | |
| From: Michael Jubien (Ontology and Mathematical Truth [1977], p.115) | |
| A reaction: This is the Structuralist idea beginning to take shape after Benacerraf's launching of it. Note that Jubien gets there by his rejection of platonism, whereas some structuralist have given a platonist interpretation of structure. |
| 9963 | If we all intuited mathematical objects, platonism would be agreed [Jubien] |
| Full Idea: If the intuition of mathematical objects were general, there would be no real debate over platonism. | |
| From: Michael Jubien (Ontology and Mathematical Truth [1977], p.111) | |
| A reaction: It is particularly perplexing when Gödel says that his perception of them is just like sight or smell, since I have no such perception. How do you individuate very large numbers, or irrational numbers, apart from writing down numerals? |
| 9962 | How can pure abstract entities give models to serve as interpretations? [Jubien] |
| Full Idea: I am unable to see how the mere existence of pure abstract entities enables us to concoct appropriate models to serve as interpretations. | |
| From: Michael Jubien (Ontology and Mathematical Truth [1977], p.111) | |
| A reaction: Nice question. It is always assumed that once we have platonic realm, that everything else follows. Even if we are able to grasp the objects, despite their causal inertness, we still have to discern innumerable relations between them. |
| 9964 | Since mathematical objects are essentially relational, they can't be picked out on their own [Jubien] |
| Full Idea: The essential properties of mathematical entities seem to be relational, ...so we make no progress unless we can pick out some mathematical entities wihout presupposing other entities already picked out. | |
| From: Michael Jubien (Ontology and Mathematical Truth [1977], p.112) | |
| A reaction: [compressed] Jubien is a good critic of platonism. He has identified the problem with Frege's metaphor of a 'borehole', where we discover delightful new properties of numbers simply by reaching them. |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 9969 | The empty set is the purest abstract object [Jubien] |
| Full Idea: The empty set is the pure abstract object par excellence. | |
| From: Michael Jubien (Ontology and Mathematical Truth [1977], p.118 n8) | |
| A reaction: So a really good PhD on the empty set could crack the whole nature of reality. Get to work, whoever you are! |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 1748 | Archelaus was the first person to say that the universe is boundless [Archelaus, by Diog. Laertius] |
| Full Idea: Archelaus was the first person to say that the universe is boundless. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.Ar.3 |
| 5989 | Archelaus said life began in a primeval slime [Archelaus, by Schofield] |
| Full Idea: Archelaus wrote that life on Earth began in a primeval slime. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Malcolm Schofield - Archelaus | |
| A reaction: This sounds like a fairly clearcut assertion of the production of life by evolution. Darwin's contribution was to propose the mechanism for achieving it. We should honour the name of Archelaus for this idea. |