37 ideas
| 17749 | Post proved the consistency of propositional logic in 1921 [Walicki] |
| Full Idea: A proof of the consistency of propositional logic was given by Emil Post in 1921. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], History E.2.1) |
| 17765 | Propositional language can only relate statements as the same or as different [Walicki] |
| Full Idea: Propositional language is very rudimentary and has limited powers of expression. The only relation between various statements it can handle is that of identity and difference. As are all the same, but Bs can be different from As. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 7 Intro) | |
| A reaction: [second sentence a paraphrase] In predicate logic you could represent two statements as being the same except for one element (an object or predicate or relation or quantifier). |
| 17764 | Boolean connectives are interpreted as functions on the set {1,0} [Walicki] |
| Full Idea: Boolean connectives are interpreted as functions on the set {1,0}. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 5.1) | |
| A reaction: 1 and 0 are normally taken to be true (T) and false (F). Thus the functions output various combinations of true and false, which are truth tables. |
| 17752 | The empty set is useful for defining sets by properties, when the members are not yet known [Walicki] |
| Full Idea: The empty set is mainly a mathematical convenience - defining a set by describing the properties of its members in an involved way, we may not know from the very beginning what its members are. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 1.1) |
| 17753 | The empty set avoids having to take special precautions in case members vanish [Walicki] |
| Full Idea: Without the assumption of the empty set, one would often have to take special precautions for the case where a set happened to contain no elements. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 1.1) | |
| A reaction: Compare the introduction of the concept 'zero', where special precautions are therefore required. ...But other special precautions are needed without zero. Either he pays us, or we pay him, or ...er. Intersecting sets need the empty set. |
| 17759 | Ordinals play the central role in set theory, providing the model of well-ordering [Walicki] |
| Full Idea: Ordinals play the central role in set theory, providing the paradigmatic well-orderings. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 2.3) | |
| A reaction: When you draw the big V of the iterative hierarchy of sets (built from successive power sets), the ordinals are marked as a single line up the middle, one ordinal for each level. |
| 17741 | To determine the patterns in logic, one must identify its 'building blocks' [Walicki] |
| Full Idea: In order to construct precise and valid patterns of arguments one has to determine their 'building blocks'. One has to identify the basic terms, their kinds and means of combination. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], History Intro) | |
| A reaction: A deceptively simple and important idea. All explanation requires patterns and levels, and it is the idea of building blocks which makes such things possible. It is right at the centre of our grasp of everything. |
| 17747 | A 'model' of a theory specifies interpreting a language in a domain to make all theorems true [Walicki] |
| Full Idea: A specification of a domain of objects, and of the rules for interpreting the symbols of a logical language in this domain such that all the theorems of the logical theory are true is said to be a 'model' of the theory. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], History E.1.3) | |
| A reaction: The basic ideas of this emerged 1915-30, but it needed Tarski's account of truth to really get it going. |
| 17748 | The L-S Theorem says no theory (even of reals) says more than a natural number theory [Walicki] |
| Full Idea: The L-S Theorem is ...a shocking result, since it implies that any consistent formal theory of everything - even about biology, physics, sets or the real numbers - can just as well be understood as being about natural numbers. It says nothing more. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], History E.2) | |
| A reaction: Illuminating. Particularly the point that no theory about the real numbers can say anything more than a theory about the natural numbers. So the natural numbers contain all the truths we can ever express? Eh????? |
| 17761 | A compact axiomatisation makes it possible to understand a field as a whole [Walicki] |
| Full Idea: Having such a compact [axiomatic] presentation of a complicated field [such as Euclid's], makes it possible to relate not only to particular theorems but also to the whole field as such. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 4.1) |
| 17763 | Axiomatic systems are purely syntactic, and do not presuppose any interpretation [Walicki] |
| Full Idea: Axiomatic systems, their primitive terms and proofs, are purely syntactic, that is, do not presuppose any interpretation. ...[142] They never address the world directly, but address a possible semantic model which formally represents the world. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 4.1) |
| 17758 | Ordinals are transitive sets of transitive sets; or transitive sets totally ordered by inclusion [Walicki] |
| Full Idea: An ordinal can be defined as a transitive set of transitive sets, or else, as a transitive set totally ordered by set inclusion. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 2.3) |
| 17755 | Ordinals are the empty set, union with the singleton, and any arbitrary union of ordinals [Walicki] |
| Full Idea: The collection of ordinals is defined inductively: Basis: the empty set is an ordinal; Ind: for an ordinal x, the union with its singleton is also an ordinal; and any arbitrary (possibly infinite) union of ordinals is an ordinal. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 2.3) | |
| A reaction: [symbolism translated into English] Walicki says they are called 'ordinal numbers', but are in fact a set. |
| 17756 | The union of finite ordinals is the first 'limit ordinal'; 2ω is the second... [Walicki] |
| Full Idea: We can form infinite ordinals by taking unions of ordinals. We can thus form 'limit ordinals', which have no immediate predecessor. ω is the first (the union of all finite ordinals), ω + ω = sω is second, 3ω the third.... | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 2.3) |
| 17760 | Two infinite ordinals can represent a single infinite cardinal [Walicki] |
| Full Idea: There may be several ordinals for the same cardinality. ...Two ordinals can represent different ways of well-ordering the same number (aleph-0) of elements. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 2.3) | |
| A reaction: This only applies to infinite ordinals and cardinals. For the finite, the two coincide. In infinite arithmetic the rules are different. |
| 17757 | Members of ordinals are ordinals, and also subsets of ordinals [Walicki] |
| Full Idea: Every member of an ordinal is itself an ordinal, and every ordinal is a transitive set (its members are also its subsets; a member of a member of an ordinal is also a member of the ordinal). | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 2.3) |
| 17762 | In non-Euclidean geometry, all Euclidean theorems are valid that avoid the fifth postulate [Walicki] |
| Full Idea: Since non-Euclidean geometry preserves all Euclid's postulates except the fifth one, all the theorems derived without the use of the fifth postulate remain valid. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 4.1) |
| 17754 | Inductive proof depends on the choice of the ordering [Walicki] |
| Full Idea: Inductive proof is not guaranteed to work in all cases and, particularly, it depends heavily on the choice of the ordering. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], 2.1.1) | |
| A reaction: There has to be an well-founded ordering for inductive proofs to be possible. |
| 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) |
| 17742 | Scotus based modality on semantic consistency, instead of on what the future could allow [Walicki] |
| Full Idea: The link between time and modality was severed by Duns Scotus, who proposed a notion of possibility based purely on the notion of semantic consistency. 'Possible' means for him logically possible, that is, not involving contradiction. | |
| From: Michal Walicki (Introduction to Mathematical Logic [2012], History B.4) |
| 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. |
| 7861 | Libet says the processes initiated in the cortex can still be consciously changed [Libet, by Papineau] |
| Full Idea: Libet himself points out that the conscious decisions still have the power to 'endorse' or 'cancel', so to speak, the processes initiated by the earlier cortical activity: no action will result if the action's execution is consciously countermanded. | |
| From: report of Benjamin Libet (Unconscious Cerebral Initiative [1985]) by David Papineau - Thinking about Consciousness 1.4 | |
| A reaction: This is why Libet's findings do not imply 'epiphenomenalism'. It seems that part of a decisive action is non-conscious, undermining the all-or-nothing view of consciousness. Searle tries to smuggle in free will at this point (Idea 3817). |
| 6660 | Libet found conscious choice 0.2 secs before movement, well after unconscious 'readiness potential' [Libet, by Lowe] |
| Full Idea: Libet found that a subject's conscious choice to move was about a fifth of a second before movement, and thus later than the onset of the brain's so-called 'readiness potential', which seems to imply that unconscious processes initiates action. | |
| From: report of Benjamin Libet (Unconscious Cerebral Initiative [1985]) by E.J. Lowe - Introduction to the Philosophy of Mind Ch.9 | |
| A reaction: Of great interest to philosophers! It seems to make conscious choices epiphenomenal. The key move, I think, is to give up the idea of consciousness as being all-or-nothing. My actions are still initiated by 'me', but 'me' shades off into unconsciousness. |
| 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. |