11 ideas
| 10053 | Geometrical axioms imply the propositions, but the former may not be true [Russell] |
| Full Idea: We must only assert of various geometries that the axioms imply the propositions, not that the axioms are true and therefore that the propositions are true. | |
| From: Bertrand Russell (Foundations of Geometry [1897], Intro vii), quoted by Alan Musgrave - Logicism Revisited §4 | |
| A reaction: Clearly the truth of the axioms can remain a separate issue from whether they actually imply the theorems. The truth of the axioms might be as much a metaphysical as an empirical question. Musgrave sees this as the birth of if-thenism. |
| 10052 | Geometry is united by the intuitive axioms of projective geometry [Russell, by Musgrave] |
| Full Idea: Russell sought what was common to Euclidean and non-Euclidean systems, found it in the axioms of projective geometry, and took a Kantian view of them. | |
| From: report of Bertrand Russell (Foundations of Geometry [1897]) by Alan Musgrave - Logicism Revisited §4 | |
| A reaction: Russell's work just preceded Hilbert's famous book. Tarski later produced some logical axioms for geometry. |
| 8784 | Neo-logicism founds arithmetic on Hume's Principle along with second-order logic [Hale/Wright] |
| Full Idea: The result of joining Hume's Principle to second-order logic is a consistent system which is a foundation for arithmetic, in the sense that all the fundamental laws of arithmetic are derivable within it as theorems. This seems a vindication of logicism. | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 1) | |
| A reaction: The controversial part seems to be second-order logic, which Quine (for example) vigorously challenged. The contention against most attempts to improve Frege's logicism is that they thereby cease to be properly logical. |
| 8787 | The Julius Caesar problem asks for a criterion for the concept of a 'number' [Hale/Wright] |
| Full Idea: The Julius Caesar problem is the problem of supplying a criterion of application for 'number', and thereby setting it up as the concept of a genuine sort of object. (Why is Julius Caesar not a number?) | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 3) | |
| A reaction: One response would be to deny that numbers are objects. Another would be to derive numbers from their application in counting objects, rather than the other way round. I suspect that the problem only real bothers platonists. Serves them right. |
| 8788 | Logicism is only noteworthy if logic has a privileged position in our ontology and epistemology [Hale/Wright] |
| Full Idea: It is only if logic is metaphysically and epistemologically privileged that a reduction of mathematical theories to logical ones can be philosophically any more noteworthy than a reduction of any mathematical theory to any other. | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 8) | |
| A reaction: It would be hard to demonstrate this privileged position, though intuitively there is nothing more basic in human rationality. That may be a fact about us, but it doesn't make logic basic to nature, which is where proper reduction should be heading. |
| 8783 | Logicism might also be revived with a quantificational approach, or an abstraction-free approach [Hale/Wright] |
| Full Idea: Two modern approaches to logicism are the quantificational approach of David Bostock, and the abstraction-free approach of Neil Tennant. | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 1 n2) | |
| A reaction: Hale and Wright mention these as alternatives to their own view. I merely catalogue them for further examination. My immediate reaction is that Bostock sounds hopeless and Tennant sounds interesting. |
| 8786 | One first-order abstraction principle is Frege's definition of 'direction' in terms of parallel lines [Hale/Wright] |
| Full Idea: An example of a first-order abstraction principle is Frege's definition of 'direction' in terms of parallel lines; a higher-order example (which refers to first-order predicates) defines 'equinumeral' in terms of one-to-one correlation (Hume's Principle). | |
| From: B Hale / C Wright (Logicism in the 21st Century [2007], 1) | |
| A reaction: [compressed] This is the way modern logicians now treat abstraction, but abstraction principles include the elusive concept of 'equivalence' of entities, which may be no more than that the same adjective ('parallel') can be applied to them. |
| 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. |
| 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! |
| 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. |