Combining Texts

All the ideas for 'Croce and Collingwood', 'Epistemic and Metaphysical Possibility' and 'Frege versus Cantor and Dedekind'

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13 ideas

1. Philosophy / F. Analytic Philosophy / 7. Limitations of Analysis
Analytic philosophy focuses too much on forms of expression, instead of what is actually said [Tait]
     Full Idea: The tendency to attack forms of expression rather than attempting to appreciate what is actually being said is one of the more unfortunate habits that analytic philosophy inherited from Frege.
     From: William W. Tait (Frege versus Cantor and Dedekind [1996], IV)
     A reaction: The key to this, I say, is to acknowledge the existence of propositions (in brains). For example, this belief will make teachers more sympathetic to pupils who are struggling to express an idea, and verbal nit-picking becomes totally irrelevant.
4. Formal Logic / F. Set Theory ST / 3. Types of Set / b. Empty (Null) Set
The null set was doubted, because numbering seemed to require 'units' [Tait]
     Full Idea: The conception that what can be numbered is some object (including flocks of sheep) relative to a partition - a choice of unit - survived even in the late nineteenth century in the form of the rejection of the null set (and difficulties with unit sets).
     From: William W. Tait (Frege versus Cantor and Dedekind [1996], IX)
     A reaction: This old view can't be entirely wrong! Frege makes the point that if asked to count a pack of cards, you must decide whether to count cards, or suits, or pips. You may not need a 'unit', but you need a concept. 'Units' name concept-extensions nicely!
4. Formal Logic / F. Set Theory ST / 7. Natural Sets
We can have a series with identical members [Tait]
     Full Idea: Why can't we have a series (as opposed to a linearly ordered set) all of whose members are identical, such as (a, a, a...,a)?
     From: William W. Tait (Frege versus Cantor and Dedekind [1996], VII)
     A reaction: The question is whether the items order themselves, which presumably the natural numbers are supposed to do, or whether we impose the order (and length) of the series. What decides how many a's there are? Do we order, or does nature?
10. Modality / A. Necessity / 6. Logical Necessity
Logical necessity is epistemic necessity, which is the old notion of a priori [Edgington, by McFetridge]
     Full Idea: Edgington's position is that logical necessity is an epistemic notion: epistemic necessity which, she claims, is the old notion of the a priori. Like Kripke, she thinks this is two-way independent of metaphysical necessity.
     From: report of Dorothy Edgington (Epistemic and Metaphysical Possibility [1985]) by Ian McFetridge - Logical Necessity: Some Issues §1
     A reaction: [her paper was unpublished] She hence thinks an argument can be logically valid, while metaphysically its conclusion may not follow. Dubious, though I think I favour the view that logical necessity is underwritten by metaphysical necessity.
18. Thought / E. Abstraction / 2. Abstracta by Selection
Abstraction is 'logical' if the sense and truth of the abstraction depend on the concrete [Tait]
     Full Idea: If the sense of a proposition about the abstract domain is given in terms of the corresponding proposition about the (relatively) concrete domain, ..and the truth of the former is founded upon the truth of the latter, then this is 'logical abstraction'.
     From: William W. Tait (Frege versus Cantor and Dedekind [1996], V)
     A reaction: The 'relatively' in parentheses allows us to apply his idea to levels of abstraction, and not just to the simple jump up from the concrete. I think Tait's proposal is excellent, rather than purloining 'abstraction' for an internal concept within logic.
Cantor and Dedekind use abstraction to fix grammar and objects, not to carry out proofs [Tait]
     Full Idea: Although (in Cantor and Dedekind) abstraction does not (as has often been observed) play any role in their proofs, but it does play a role, in that it fixes the grammar, the domain of meaningful propositions, and so determining the objects in the proofs.
     From: William W. Tait (Frege versus Cantor and Dedekind [1996], V)
     A reaction: [compressed] This is part of a defence of abstractionism in Cantor and Dedekind (see K.Fine also on the subject). To know the members of a set, or size of a domain, you need to know the process or function which created the set.
18. Thought / E. Abstraction / 7. Abstracta by Equivalence
Abstraction may concern the individuation of the set itself, not its elements [Tait]
     Full Idea: A different reading of abstraction is that it concerns, not the individuating properties of the elements relative to one another, but rather the individuating properties of the set itself, for example the concept of what is its extension.
     From: William W. Tait (Frege versus Cantor and Dedekind [1996], VIII)
     A reaction: If the set was 'objects in the room next door', we would not be able to abstract from the objects, but we might get to the idea of things being contain in things, or the concept of an object, or a room. Wrong. That's because they are objects... Hm.
18. Thought / E. Abstraction / 8. Abstractionism Critique
Why should abstraction from two equipollent sets lead to the same set of 'pure units'? [Tait]
     Full Idea: Why should abstraction from two equipollent sets lead to the same set of 'pure units'?
     From: William W. Tait (Frege versus Cantor and Dedekind [1996])
     A reaction: [Tait is criticising Cantor] This expresses rather better than Frege or Dummett the central problem with the abstractionist view of how numbers are derived from matching groups of objects.
If abstraction produces power sets, their identity should imply identity of the originals [Tait]
     Full Idea: If the power |A| is obtained by abstraction from set A, then if A is equipollent to set B, then |A| = |B|. But this does not imply that A = B. So |A| cannot just be A, taken in abstraction, unless that can identify distinct sets, ..or create new objects.
     From: William W. Tait (Frege versus Cantor and Dedekind [1996], V)
     A reaction: An elegant piece of argument, which shows rather crucial facts about abstraction. We are then obliged to ask how abstraction can create an object or a set, if the central activity of abstraction is just ignoring certain features.
21. Aesthetics / A. Aesthetic Experience / 1. Aesthetics
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.
21. Aesthetics / B. Nature of Art / 4. Art as Expression
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.
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.
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!