Combining Texts

All the ideas for 'Croce and Collingwood', 'Alfred Tarski: life and logic' and 'There Are No Abstract Objects'

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19 ideas

4. Formal Logic / F. Set Theory ST / 4. Axioms for Sets / j. Axiom of Choice IX
The Axiom of Choice is consistent with the other axioms of set theory [Feferman/Feferman]
     Full Idea: In 1938 Gödel proved that the Axiom of Choice is consistent with the other axioms of set theory.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I)
     A reaction: Hence people now standardly accept ZFC, rather than just ZF.
Axiom of Choice: a set exists which chooses just one element each of any set of sets [Feferman/Feferman]
     Full Idea: Zermelo's Axiom of Choice asserts that for any set of non-empty sets that (pairwise) have no elements in common, then there is a set that 'simultaneously chooses' exactly one element from each set. Note that this is an existential claim.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I)
     A reaction: The Axiom is now widely accepted, after much debate in the early years. Even critics of the Axiom turn out to be relying on it.
Platonist will accept the Axiom of Choice, but others want criteria of selection or definition [Feferman/Feferman]
     Full Idea: The Axiom of Choice seems clearly true from the Platonistic point of view, independently of how sets may be defined, but is rejected by those who think such existential claims must show how to pick out or define the object claimed to exist.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I)
     A reaction: The typical critics are likely to be intuitionists or formalists, who seek for both rigour and a plausible epistemology in our theory.
The Trichotomy Principle is equivalent to the Axiom of Choice [Feferman/Feferman]
     Full Idea: The Trichotomy Principle (any number is less, equal to, or greater than, another number) turned out to be equivalent to the Axiom of Choice.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I)
     A reaction: [He credits Sierpinski (1918) with this discovery]
Cantor's theories needed the Axiom of Choice, but it has led to great controversy [Feferman/Feferman]
     Full Idea: The Axiom of Choice is a pure existence statement, without defining conditions. It was necessary to provide a foundation for Cantor's theory of transfinite cardinals and ordinal numbers, but its nonconstructive character engendered heated controversy.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int I)
5. Theory of Logic / J. Model Theory in Logic / 1. Logical Models
A structure is a 'model' when the axioms are true. So which of the structures are models? [Feferman/Feferman]
     Full Idea: A structure is said to be a 'model' of an axiom system if each of its axioms is true in the structure (e.g. Euclidean or non-Euclidean geometry). 'Model theory' concerns which structures are models of a given language and axiom system.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V)
     A reaction: This strikes me as the most interesting aspect of mathematical logic, since it concerns the ways in which syntactic proof-systems actually connect with reality. Tarski is the central theoretician here, and his theory of truth is the key.
Tarski and Vaught established the equivalence relations between first-order structures [Feferman/Feferman]
     Full Idea: In the late 1950s Tarski and Vaught defined and established basic properties of the relation of elementary equivalence between two structures, which holds when they make true exactly the same first-order sentences. This is fundamental to model theory.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V)
     A reaction: This is isomorphism, which clarifies what a model is by giving identity conditions between two models. Note that it is 'first-order', and presumably founded on classical logic.
5. Theory of Logic / J. Model Theory in Logic / 3. Löwenheim-Skolem Theorems
Löwenheim-Skolem says if the sentences are countable, so is the model [Feferman/Feferman]
     Full Idea: The Löwenheim-Skolem Theorem, the earliest in model theory, states that if a countable set of sentences in a first-order language has a model, then it has a countable model.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V)
     A reaction: There are 'upward' (sentences-to-model) and 'downward' (model-to-sentences) versions of the theory.
Löwenheim-Skolem Theorem, and Gödel's completeness of first-order logic, the earliest model theory [Feferman/Feferman]
     Full Idea: Before Tarski's work in the 1930s, the main results in model theory were the Löwenheim-Skolem Theorem, and Gödel's establishment in 1929 of the completeness of the axioms and rules for the classical first-order predicate (or quantificational) calculus.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V)
5. Theory of Logic / K. Features of Logics / 4. Completeness
If a sentence holds in every model of a theory, then it is logically derivable from the theory [Feferman/Feferman]
     Full Idea: Completeness is when, if a sentences holds in every model of a theory, then it is logically derivable from that theory.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int V)
5. Theory of Logic / K. Features of Logics / 7. Decidability
'Recursion theory' concerns what can be solved by computing machines [Feferman/Feferman]
     Full Idea: 'Recursion theory' is the subject of what can and cannot be solved by computing machines
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Ch.9)
     A reaction: This because 'recursion' will grind out a result step-by-step, as long as the steps will 'halt' eventually.
Both Principia Mathematica and Peano Arithmetic are undecidable [Feferman/Feferman]
     Full Idea: In 1936 Church showed that Principia Mathematica is undecidable if it is ω-consistent, and a year later Rosser showed that Peano Arithmetic is undecidable, and any consistent extension of it.
     From: Feferman / Feferman (Alfred Tarski: life and logic [2004], Int IV)
8. Modes of Existence / E. Nominalism / 1. Nominalism / c. Nominalism about abstracta
Call 'nominalism' the denial of numbers, properties, relations and sets [Dorr]
     Full Idea: Just as there are no numbers or properties, there are no relations (like 'being heavier than' or 'betweenness'), or sets. I will provisionally use 'nominalism' for the conjunction of these four claims.
     From: Cian Dorr (There Are No Abstract Objects [2008], 1)
     A reaction: If you are going to be a nominalist, do it properly! My starting point in metaphysics is strong sympathy with this view. Right now [Tues 22nd Nov 2011, 10:57 am GMT] I think it is correct.
8. Modes of Existence / E. Nominalism / 5. Class Nominalism
Natural Class Nominalism says there are primitive classes of things resembling in one respect [Dorr]
     Full Idea: Natural Class Nominalists take as primitive the notion of a 'natural' class - a class of things that all resemble one another in some one respect and resemble nothing else in that respect.
     From: Cian Dorr (There Are No Abstract Objects [2008], 4)
     A reaction: Dorr rejects this view because he doesn't believe in 'classes'. How committed to classes do you have to be before you are permitted to talk about them? All vocabulary (such as 'resemble') seems metaphysically tainted in this area.
10. Modality / A. Necessity / 11. Denial of Necessity
Abstracta imply non-logical brute necessities, so only nominalists can deny such things [Dorr]
     Full Idea: If there are abstract objects, there are necessary truths about these things that cannot be reduced to truths of logic. So only the nominalist, who denies that there are any such things, can adequately respect the idea that there are no brute necessities.
     From: Cian Dorr (There Are No Abstract Objects [2008], 4)
     A reaction: This is where two plates of my personal philosophy grind horribly against one another. I love nominalism, and I love natural necessities. They meet like a ring-species in evolution. I'll just call it a 'paradox', and move on (swiftly).
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!