10 ideas
| 17818 | How many? must first partition an aggregate into sets, and then logic fixes its number [Yourgrau] |
| Full Idea: We want to know How many what? You must first partition an aggregate into parts relevant to the question, where no partition is privileged. How the partitioned set is to be numbered is bound up with its unique members, and follows from logic alone. | |
| From: Palle Yourgrau (Sets, Aggregates and Numbers [1985], 'New Problem') | |
| A reaction: [Compressed wording of Yourgrau's summary of Frege's 'relativity argument'] Concepts do the partitioning. Yourgau says this fails, because the same argument applies to the sets themselves, as well as to the original aggregates. |
| 17822 | Nothing is 'intrinsically' numbered [Yourgrau] |
| Full Idea: Nothing at all is 'intrinsically' numbered. | |
| From: Palle Yourgrau (Sets, Aggregates and Numbers [1985], 'What the') | |
| A reaction: Once you are faced with distinct 'objects' of some sort, they can play the role of 'unit' in counting, so his challenge is that nothing is 'intrinsically' an object, which is the nihilism explored by Unger, Van Inwagen and Merricks. Aristotle disagrees... |
| 17817 | Defining 'three' as the principle of collection or property of threes explains set theory definitions [Yourgrau] |
| Full Idea: The Frege-Maddy definition of number (as the 'property' of being-three) explains why the definitions of Von Neumann, Zermelo and others work, by giving the 'principle of collection' that ties together all threes. | |
| From: Palle Yourgrau (Sets, Aggregates and Numbers [1985], 'A Fregean') | |
| A reaction: [compressed two or three sentences] I am strongly in favour of the best definition being the one which explains the target, rather than just pinning it down. I take this to be Aristotle's view. |
| 17815 | We can't use sets as foundations for mathematics if we must await results from the upper reaches [Yourgrau] |
| Full Idea: Sets could hardly serve as a foundation for number theory if we had to await detailed results in the upper reaches of the edifice before we could make our first move. | |
| From: Palle Yourgrau (Sets, Aggregates and Numbers [1985], 'Two') |
| 17821 | You can ask all sorts of numerical questions about any one given set [Yourgrau] |
| Full Idea: We can address a set with any question at all that admits of a numerical reply. Thus we can ask of {Carter, Reagan} 'How many feet do the members have?'. | |
| From: Palle Yourgrau (Sets, Aggregates and Numbers [1985], 'On Numbering') | |
| A reaction: This is his objection to the Fregean idea that once you have fixed the members of a set, you have thereby fixed the unique number that belongs with the set. |
| 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! |
| 7907 | Human killing is worse if the victim is virtuous [Buddhaghosa] |
| Full Idea: In the case of humans killing is the more blameworthy the more virtuous the victim is. | |
| From: Buddhaghosa (Papancasudani [c.400], 9.7-10) | |
| A reaction: This sentiment has almost become a taboo in western society, and yet it is present all the time. The greatest outcry is about murders of really good citizens. Occasionally the murder of a villain causes little regret. |