8 ideas
| 10304 | Very few things in set theory remain valid in intuitionist mathematics [Bernays] |
| Full Idea: Very few things in set theory remain valid in intuitionist mathematics. | |
| From: Paul Bernays (On Platonism in Mathematics [1934]) |
| 10303 | Restricted Platonism is just an ideal projection of a domain of thought [Bernays] |
| Full Idea: A restricted Platonism does not claim to be more than, so to speak, an ideal projection of a domain of thought. | |
| From: Paul Bernays (On Platonism in Mathematics [1934], p.261) | |
| A reaction: I have always found Platonism to be congenial when it talks of 'ideals', and ridiculous when it talks of a special form of 'existence'. Ideals only 'exist' because we idealise things. I may declare myself, after all, to be a Restricted Platonist. |
| 10306 | Mathematical abstraction just goes in a different direction from logic [Bernays] |
| Full Idea: Mathematical abstraction does not have a lesser degree than logical abstraction, but rather another direction. | |
| From: Paul Bernays (On Platonism in Mathematics [1934], p.268) | |
| A reaction: His point is that the logicists seem to think that if you increasingly abstract from mathematics, you end up with pure logic. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |