15 ideas
| 9193 | ZF set theory has variables which range over sets, 'equals' and 'member', and extensionality [Dummett] |
| Full Idea: ZF set theory is a first-order axiomatization. Variables range over sets, there are no second-order variables, and primitive predicates are just 'equals' and 'member of'. The axiom of extensionality says sets with the same members are identical. | |
| From: Michael Dummett (The Philosophy of Mathematics [1998], 7) | |
| A reaction: If the eleven members of the cricket team are the same as the eleven members of the hockey team, is the cricket team the same as the hockey team? Our cricket team is better than our hockey team, so different predicates apply to them. |
| 9194 | The main alternative to ZF is one which includes looser classes as well as sets [Dummett] |
| Full Idea: The main alternative to ZF is two-sorted theories, with some variables ranging over classes. Classes have more generous existence assumptions: there is a universal class, containing all sets, and a class containing all ordinals. Classes are not members. | |
| From: Michael Dummett (The Philosophy of Mathematics [1998], 7.1.1) | |
| A reaction: My intuition is to prefer strict systems when it comes to logical theories. The whole point is precision. Otherwise we could just think about things, and skip all this difficult symbolic stuff. |
| 9195 | Intuitionists reject excluded middle, not for a third value, but for possibility of proof [Dummett] |
| Full Idea: It must not be concluded from the rejection of excluded middle that intuitionistic logic operates with three values: true, false, and neither true nor false. It does not make use of true and false, but only with a construction being a proof. | |
| From: Michael Dummett (The Philosophy of Mathematics [1998], 8.1) | |
| A reaction: This just sounds like verificationism to me, with all its problems. It seems to make speculative statements meaningless, which can't be right. Realism has lots of propositions which are assumed to be true or false, but also unknowable. |
| 9186 | First-order logic concerns objects; second-order adds properties, kinds, relations and functions [Dummett] |
| Full Idea: First-order logic is distinguished by generalizations (quantification) only over objects: second-order logic admits generalizations or quantification over properties or kinds of objects, and over relations between them, and functions defined over them. | |
| From: Michael Dummett (The Philosophy of Mathematics [1998], 3.1) | |
| A reaction: Second-order logic was introduced by Frege, but is (interestingly) rejected by Quine, because of the ontological commitments involved. I remain unconvinced that quantification entails ontological commitment, so I'm happy. |
| 9187 | Logical truths and inference are characterized either syntactically or semantically [Dummett] |
| Full Idea: There are two ways of characterizing logical truths and correct inference. Proof-theoretic or syntactic characterizations, if the formalization admits of proof or derivation; and model-theoretic or semantic versions, being true in all interpretations. | |
| From: Michael Dummett (The Philosophy of Mathematics [1998], 3.1) | |
| A reaction: Dummett calls this distinction 'fundamental'. The second one involves truth, and hence meaning, where the first one just responds to rules. ..But how can you have a notion of correctly following a rule, without a notion of truth? |
| 9191 | Ordinals seem more basic than cardinals, since we count objects in sequence [Dummett] |
| Full Idea: It can be argued that the notion of ordinal numbers is more fundamental than that of cardinals. To count objects, we must count them in sequence. ..The theory of ordinals forms the substratum of Cantor's theory of cardinals. | |
| From: Michael Dummett (The Philosophy of Mathematics [1998], 5) | |
| A reaction: Depends what you mean by 'fundamental'. I would take cardinality to be psychologically prior ('that is a lot of sheep'). You can't order people by height without first acquiring some people with differing heights. I vote for cardinals. |
| 9192 | The number 4 has different positions in the naturals and the wholes, with the same structure [Dummett] |
| Full Idea: The number 4 cannot be characterized solely by its position in a system, because it has different positions in the system of natural numbers and that of the positive whole numbers, whereas these systems have the very same structure. | |
| From: Michael Dummett (The Philosophy of Mathematics [1998], 6.1) | |
| A reaction: Dummett seems to think this is fairly decisive against structuralism. There is also the structure of the real numbers. We will solve this by saying that the wholes are abstracted from the naturals, which are abstracted from the reals. Job done. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 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? |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |