12 ideas
| 9837 | 0 is not a number, as it answers 'how many?' negatively [Husserl, by Dummett] |
| Full Idea: Husserl contends that 0 is not a number, on the grounds that 'nought' is a negative answer to the question 'how many?'. | |
| From: report of Edmund Husserl (Philosophy of Arithmetic [1894], p.144) by Michael Dummett - Frege philosophy of mathematics Ch.8 | |
| A reaction: I seem to be in a tiny minority in thinking that Husserl may have a good point. One apple is different from one orange, but no apples are the same as no oranges. That makes 0 a very peculiar number. See Idea 9838. |
| 9576 | Multiplicity in general is just one and one and one, etc. [Husserl] |
| Full Idea: Multiplicity in general is no more than something and something and something, etc.; ..or more briefly, one and one and one, etc. | |
| From: Edmund Husserl (Philosophy of Arithmetic [1894], p.85), quoted by Gottlob Frege - Review of Husserl's 'Phil of Arithmetic' | |
| A reaction: Frege goes on to attack this idea fairly convincingly. It seems obvious that it is hard to say that you have seventeen items, if the only numberical concept in your possession is 'one'. How would you distinguish 17 from 16? What makes the ones 'multiple'? |
| 17444 | Husserl said counting is more basic than Frege's one-one correspondence [Husserl, by Heck] |
| Full Idea: Husserl famously argued that one should not explain number in terms of equinumerosity (or one-one correspondence), but should explain equinumerosity in terms of sameness of number, which should be characterised in terms of counting. | |
| From: report of Edmund Husserl (Philosophy of Arithmetic [1894]) by Richard G. Heck - Cardinality, Counting and Equinumerosity 3 | |
| A reaction: [Heck admits he hasn't read the Husserl] I'm very sympathetic to Husserl, though nearly all modern thinking favours Frege. Counting connects numbers to their roots in the world. Mathematicians seem oblivious of such things. |
| 6668 | If the present does not exist, then consciousness must be memory of the immediate past [Marshall] |
| Full Idea: Given the paradoxical nature of the 'present' moment, maybe we should understand ALL consciousness as memory, with the split second of the 'specious present' being very vivid and very brief memory, with the rest of the mind remembering in lower degrees. | |
| From: David Marshall (talk [2004]), quoted by PG - Db (ideas) | |
| A reaction: This strikes me as a highly plausible, and very illuminating remark. For the time paradox, see Ideas 1904 and 5102. Anyone researching consciousness in the brain should think about this, because it will just be a special sort of memory neurons. |
| 9575 | Husserl identifies a positive mental act of unification, and a negative mental act for differences [Husserl, by Frege] |
| Full Idea: Husserl identifies a 'unitary mental act' where several contents are connected or related to one another, and also a difference-relation where two contents are related to one another by a negative judgement. | |
| From: report of Edmund Husserl (Philosophy of Arithmetic [1894], p.73-74) by Gottlob Frege - Review of Husserl's 'Phil of Arithmetic' p.322 | |
| A reaction: Frege is setting this up ready for a fairly vicious attack. Where Hume has a faculty for spotting resemblances, it is not implausible that we should also be hard-wired to spot differences. 'You look different; have you changed your hair style?' |
| 21214 | We clarify concepts (e.g. numbers) by determining their psychological origin [Husserl, by Velarde-Mayol] |
| Full Idea: Husserl said that the clarification of any concept is made by determining its psychological origin. He is concerned with the psychological origins of the operation of calculating cardinal numbers. | |
| From: report of Edmund Husserl (Philosophy of Arithmetic [1894]) by Victor Velarde-Mayol - On Husserl 2.2 | |
| A reaction: This may not be the same as the 'psychologism' that Frege so despised, because Husserl is offering a clarification, rather than the intrinsic nature of number concepts. It is not a theory of the origin of numbers. |
| 9819 | Psychologism blunders in focusing on concept-formation instead of delineating the concepts [Dummett on Husserl] |
| Full Idea: Husserl substitutes his account of the process of concept-formation for a delineation of the concept. It is above all in making this substitution that psychologism is objectionable (and Frege opposed it so vehemently). | |
| From: comment on Edmund Husserl (Philosophy of Arithmetic [1894]) by Michael Dummett - Frege philosophy of mathematics Ch.2 | |
| A reaction: While this is a powerful point which is a modern orthodoxy, it hardly excludes a study of concept-formation from being of great interest for other reasons. It may not appeal to logicians, but it is crucial part of the metaphysics of nature. |
| 9851 | Husserl wanted to keep a shadowy remnant of abstracted objects, to correlate them [Dummett on Husserl] |
| Full Idea: Husserl saw that abstracted units, though featureless, must in some way retain their distinctness, some shadowy remnant of their objects. So he wanted to correlate like-numbered sets, not just register their identity, but then abstractionism fails. | |
| From: comment on Edmund Husserl (Philosophy of Arithmetic [1894]) by Michael Dummett - Frege philosophy of mathematics Ch.12 | |
| A reaction: Abstractionism is held to be between the devil and the deep blue sea, of depending on units which are identifiable, when they are defined as devoid of all individuality. We seem forced to say that the only distinction between them is countability. |
| 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! |