24 ideas
| 13011 | New axioms are being sought, to determine the size of the continuum [Maddy] |
| Full Idea: In current set theory, the search is on for new axioms to determine the size of the continuum. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §0) | |
| A reaction: This sounds the wrong way round. Presumably we seek axioms that fix everything else about set theory, and then check to see what continuum results. Otherwise we could just pick our continuum, by picking our axioms. |
| 13013 | The Axiom of Extensionality seems to be analytic [Maddy] |
| Full Idea: Most writers agree that if any sense can be made of the distinction between analytic and synthetic, then the Axiom of Extensionality should be counted as analytic. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.1) | |
| A reaction: [Boolos is the source of the idea] In other words Extensionality is not worth discussing, because it simply tells you what the world 'set' means, and there is no room for discussion about that. The set/class called 'humans' varies in size. |
| 13014 | Extensional sets are clearer, simpler, unique and expressive [Maddy] |
| Full Idea: The extensional view of sets is preferable because it is simpler, clearer, and more convenient, because it individuates uniquely, and because it can simulate intensional notions when the need arises. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.1) | |
| A reaction: [She cites Fraenkel, Bar-Hillet and Levy for this] The difficulty seems to be whether the extensional notion captures our ordinary intuitive notion of what constitutes a group of things, since that needs flexible size and some sort of unity. |
| 13021 | The Axiom of Infinity states Cantor's breakthrough that launched modern mathematics [Maddy] |
| Full Idea: The Axiom of Infinity is a simple statement of Cantor's great breakthrough. His bold hypothesis that a collection of elements that had lurked in the background of mathematics could be infinite launched modern mathematics. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.5) | |
| A reaction: It also embodies one of those many points where mathematics seems to depart from common sense - but then most subjects depart from common sense when they get more sophisticated. Look what happened to art. |
| 13022 | Infinite sets are essential for giving an account of the real numbers [Maddy] |
| Full Idea: If one is interested in analysis then infinite sets are indispensable since even the notion of a real number cannot be developed by means of finite sets alone. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.5) | |
| A reaction: [Maddy is citing Fraenkel, Bar-Hillel and Levy] So Cantor's great breakthrough (Idea 13021) actually follows from the earlier acceptance of the real numbers, so that's where the departure from common sense started. |
| 13023 | The Power Set Axiom is needed for, and supported by, accounts of the continuum [Maddy] |
| Full Idea: The Power Set Axiom is indispensable for a set-theoretic account of the continuum, ...and in so far as those attempts are successful, then the power-set principle gains some confirmatory support. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.6) | |
| A reaction: The continuum is, of course, notoriously problematic. Have we created an extra problem in our attempts at solving the first one? |
| 13024 | Efforts to prove the Axiom of Choice have failed [Maddy] |
| Full Idea: Jordain made consistent and ill-starred efforts to prove the Axiom of Choice. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.7) | |
| A reaction: This would appear to be the fate of most axioms. You would presumably have to use a different system from the one you are engaged with to achieve your proof. |
| 13025 | Modern views say the Choice set exists, even if it can't be constructed [Maddy] |
| Full Idea: Resistance to the Axiom of Choice centred on opposition between existence and construction. Modern set theory thrives on a realistic approach which says the choice set exists, regardless of whether it can be defined, constructed, or given by a rule. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.7) | |
| A reaction: This seems to be a key case for the ontology that lies at the heart of theory. Choice seems to be an invaluable tool for proofs, so it won't go away, so admit it to the ontology. Hm. So the tools of thought have existence? |
| 13026 | A large array of theorems depend on the Axiom of Choice [Maddy] |
| Full Idea: Many theorems depend on the Axiom of Choice, including that a countable union of sets is countable, and results in analysis, topology, abstract algebra and mathematical logic. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.7) | |
| A reaction: The modern attitude seems to be to admit anything if it leads to interesting results. It makes you wonder about the modern approach of using mathematics and logic as the cutting edges of ontological thinking. |
| 13019 | The Iterative Conception says everything appears at a stage, derived from the preceding appearances [Maddy] |
| Full Idea: The Iterative Conception (Zermelo 1930) says everything appears at some stage. Given two objects a and b, let A and B be the stages at which they first appear. Suppose B is after A. Then the pair set of a and b appears at the immediate stage after B. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.3) | |
| A reaction: Presumably this all happens in 'logical time' (a nice phrase I have just invented!). I suppose we might say that the existence of the paired set is 'forced' by the preceding sets. No transcendental inferences in this story? |
| 13018 | Limitation of Size is a vague intuition that over-large sets may generate paradoxes [Maddy] |
| Full Idea: The 'limitation of size' is a vague intuition, based on the idea that being too large may generate the paradoxes. | |
| From: Penelope Maddy (Believing the Axioms I [1988], §1.3) | |
| A reaction: This is an intriguing idea to be found right at the centre of what is supposed to be an incredibly rigorous system. |
| 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. |
| 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. |