9 ideas
| 13655 | The Löwenheim-Skolem theorems show that whether all sets are constructible is indeterminate [Putnam, by Shapiro] |
| Full Idea: Putnam claims that the Löwenheim-Skolem theorems indicate that there is no 'fact of the matter' whether all sets are constructible. | |
| From: report of Hilary Putnam (Models and Reality [1977]) by Stewart Shapiro - Foundations without Foundationalism | |
| A reaction: [He refers to the 4th and 5th pages of Putnam's article] Shapiro offers (p.109) a critique of Putnam's proposal. |
| 9915 | V = L just says all sets are constructible [Putnam] |
| Full Idea: V = L just says all sets are constructible. L is the class of all constructible sets, and V is the universe of all sets. | |
| From: Hilary Putnam (Models and Reality [1977], p.425) |
| 9913 | The Löwenheim-Skolem Theorem is close to an antinomy in philosophy of language [Putnam] |
| Full Idea: The Löwenheim-Skolem Theorem says that a satisfiable first-order theory (in a countable language) has a countable model. ..I argue that this is not a logical antinomy, but close to one in philosophy of language. | |
| From: Hilary Putnam (Models and Reality [1977], p.421) | |
| A reaction: See the rest of this paper for where he takes us on this. |
| 9914 | It is unfashionable, but most mathematical intuitions come from nature [Putnam] |
| Full Idea: Experience with nature is undoubtedly the source of our most basic 'mathematical intuitions', even if it is unfashionable to say so. | |
| From: Hilary Putnam (Models and Reality [1977], p.424) | |
| A reaction: Correct. I find it quite bewildering how Frege has managed to so discredit all empirical and psychological approaches to mathematics that it has become a heresy to say such things. |
| 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. |