13 ideas
| 18200 | Very large sets should be studied in an 'if-then' spirit [Putnam] |
| Full Idea: Sets of a very high type or very high cardinality (higher than the continuum, for example), should today be investigated in an 'if-then' spirit. | |
| From: Hilary Putnam (The Philosophy of Logic [1971], p.347), quoted by Penelope Maddy - Naturalism in Mathematics | |
| A reaction: Quine says the large sets should be regarded as 'uninterpreted'. |
| 18199 | Indispensability strongly supports predicative sets, and somewhat supports impredicative sets [Putnam] |
| Full Idea: We may say that indispensability is a pretty strong argument for the existence of at least predicative sets, and a pretty strong, but not as strong, argument for the existence of impredicative sets. | |
| From: Hilary Putnam (The Philosophy of Logic [1971], p.346), quoted by Penelope Maddy - Naturalism in Mathematics II.2 |
| 8857 | We must quantify over numbers for science; but that commits us to their existence [Putnam] |
| Full Idea: Quantification over mathematical entities is indispensable for science..., therefore we should accept such quantification; but this commits us to accepting the existence of the mathematical entities in question. | |
| From: Hilary Putnam (The Philosophy of Logic [1971], p.57), quoted by Stephen Yablo - Apriority and Existence | |
| A reaction: I'm not surprised that Hartry Field launched his Fictionalist view of mathematics in response to such a counterintuitive claim. I take it we use numbers to slice up reality the way we use latitude to slice up the globe. No commitment to lines! |
| 10938 | The extremes of essentialism are that all properties are essential, or only very trivial ones [Rami] |
| Full Idea: It would be natural to label one extreme view 'maximal essentialism' - that all of an object's properties are essential - and the other extreme 'minimal' - that only trivial properties such as self-identity of being either F or not-F are essential. | |
| From: Adolph Rami (Essential vs Accidental Properties [2008]) | |
| A reaction: Personally I don't accept the trivial ones as being in any way describable as 'properties'. The maximal view destroys any useful notion of essence. Leibniz is a minority holder of the maximal view. I would defend a middle way. |
| 10940 | An 'individual essence' is possessed uniquely by a particular object [Rami] |
| Full Idea: An 'individual essence' is a property that in addition to being essential is also unique to the object, in the sense that it is not possible that something distinct from that object possesses that property. | |
| From: Adolph Rami (Essential vs Accidental Properties [2008], §5) | |
| A reaction: She cites a 'haecceity' (or mere bare identity) as a trivial example of an individual essence. |
| 10939 | 'Sortal essentialism' says being a particular kind is what is essential [Rami] |
| Full Idea: According to 'sortal essentialism', an object could not have been of a radically different kind than it in fact is. | |
| From: Adolph Rami (Essential vs Accidental Properties [2008], §4) | |
| A reaction: This strikes me as thoroughly wrong. Things belong in kinds because of their properties. Could you remove all the contingent features of a tiger, leaving it as merely 'a tiger', despite being totally unrecognisable? |
| 10934 | Unlosable properties are not the same as essential properties [Rami] |
| Full Idea: It is easy to confuse the notion of an essential property that a thing could not lack, with a property it could not lose. My having spent Christmas 2007 in Tennessee is a non-essential property I could not lose. | |
| From: Adolph Rami (Essential vs Accidental Properties [2008], §1) | |
| A reaction: The idea that having spent Christmas in Tennessee is a property I find quite bewildering. Is my not having spent my Christmas in Tennessee one of my properties? I suspect that real unlosable properties are essential ones. |
| 10933 | Physical possibility is part of metaphysical possibility which is part of logical possibility [Rami] |
| Full Idea: The usual view is that 'physical possibilities' are a natural subset of the 'metaphysical possibilities', which in turn are a subset of the 'logical possibilities'. | |
| From: Adolph Rami (Essential vs Accidental Properties [2008], §1) | |
| A reaction: [She cites Fine 2002 for an opposing view] I prefer 'natural' to 'physical', leaving it open where the borders of the natural lie. I take 'metaphysical' possibility to be 'in all naturally possible worlds'. So is a round square a logical possibility? |
| 10932 | If it is possible 'for all I know' then it is 'epistemically possible' [Rami] |
| Full Idea: There is 'epistemic possibility' when it is 'for all I know'. That is, P is epistemically possible for agent A just in case P is consistent with what A knows. | |
| From: Adolph Rami (Essential vs Accidental Properties [2008], §1) | |
| A reaction: Two problems: maybe 'we' know, and A knows we know, but A doesn't know. And maybe someone knows, but we are not sure about that, which seems to introduce a modal element into the knowing. If someone knows it's impossible, it's impossible. |
| 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! |