13 ideas
| 13430 | Infinity: there is an infinity of distinguishable individuals [Ramsey] |
| Full Idea: The Axiom of Infinity means that there are an infinity of distinguishable individuals, which is an empirical proposition. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §5) | |
| A reaction: The Axiom sounds absurd, as a part of a logical system, but Ramsey ends up defending it. Logical tautologies, which seem to be obviously true, are rendered absurd if they don't refer to any objects, and some of them refer to infinities of objects. |
| 13428 | Reducibility: to every non-elementary function there is an equivalent elementary function [Ramsey] |
| Full Idea: The Axiom of Reducibility asserted that to every non-elementary function there is an equivalent elementary function [note: two functions are equivalent when the same arguments render them both true or both false]. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §2) | |
| A reaction: Ramsey in the business of showing that this axiom from Russell and Whitehead is not needed. He says that the axiom seems to be needed for induction and for Dedekind cuts. Since the cuts rest on it, and it is weak, Ramsey says it must go. |
| 13427 | Either 'a = b' vacuously names the same thing, or absurdly names different things [Ramsey] |
| Full Idea: In 'a = b' either 'a' and 'b' are names of the same thing, in which case the proposition says nothing, or of different things, in which case it is absurd. In neither case is it an assertion of a fact; it only asserts when a or b are descriptions. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §1) | |
| A reaction: This is essentially Frege's problem with Hesperus and Phosphorus. How can identities be informative? So 2+2=4 is extensionally vacuous, but informative because they are different descriptions. |
| 13334 | Contradictions are either purely logical or mathematical, or they involved thought and language [Ramsey] |
| Full Idea: Group A consists of contradictions which would occur in a logical or mathematical system, involving terms such as class or number. Group B contradictions are not purely logical, and contain some reference to thought, language or symbolism. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], p.171), quoted by Graham Priest - The Structure of Paradoxes of Self-Reference 1 | |
| A reaction: This has become the orthodox division of all paradoxes, but the division is challenged by Priest (Idea 13373). He suggests that we now realise (post-Tarski?) that language is more involved in logic and mathematics than we thought. |
| 13426 | Formalists neglect content, but the logicists have focused on generalizations, and neglected form [Ramsey] |
| Full Idea: The formalists neglected the content altogether and made mathematics meaningless, but the logicians neglected the form and made mathematics consist of any true generalisations; only by taking account of both sides can we obtain an adequate theory. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §1) | |
| A reaction: He says mathematics is 'tautological generalizations'. It is a criticism of modern structuralism that it overemphasises form, and fails to pay attention to the meaning of the concepts which stand at the 'nodes' of the structure. |
| 13425 | Formalism is hopeless, because it focuses on propositions and ignores concepts [Ramsey] |
| Full Idea: The hopelessly inadequate formalist theory is, to some extent, the result of considering only the propositions of mathematics and neglecting the analysis of its concepts. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], §1) | |
| A reaction: You'll have to read Ramsey to see how this thought pans out, but it at least gives a pointer to how to go about addressing the question. |
| 22328 | I just confront the evidence, and let it act on me [Ramsey] |
| Full Idea: I can but put the evidence before me, and let it act on my mind. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], p.202), quoted by Michael Potter - The Rise of Analytic Philosophy 1879-1930 70 'Deg' | |
| A reaction: Potter calls this observation 'downbeat', but I am an enthusiastic fan. It is roughly my view of both concept formation and of knowledge. You soak up the world, and respond appropriately. The trick is in the selection of evidence to confront. |
| 22325 | A belief is knowledge if it is true, certain and obtained by a reliable process [Ramsey] |
| Full Idea: I have always said that a belief was knowledge if it was 1) true, ii) certain, iii) obtained by a reliable process. | |
| From: Frank P. Ramsey (The Foundations of Mathematics [1925], p.258), quoted by Michael Potter - The Rise of Analytic Philosophy 1879-1930 66 'Rel' | |
| A reaction: Not sure why it has to be 'certain' as well as 'true'. It seems that 'true' is objective, and 'certain' subjective. I think I know lots of things of which I am not fully certain. Reliabilism long preceded Alvin Goldman. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 16764 | The soul conserves the body, as we see by its dissolution when the soul leaves [Toletus] |
| Full Idea: Every accident of a living thing, as well as all its organs and temperaments and its dispositions are conserved by the soul. We see this from experience, since when that soul recedes, all these dissolve and become corrupted. | |
| From: Franciscus Toletus (Commentary on 'De Anima' [1572], II.1.1), quoted by Robert Pasnau - Metaphysical Themes 1274-1671 24.5 | |
| A reaction: A nice example of observing a phenemonon, but not being able to observe the dependence relation the right way round. Compare Descartes in Idea 16763. |