14 ideas
| 10282 | Logic is the study of sound argument, or of certain artificial languages (or applying the latter to the former) [Hodges,W] |
| Full Idea: A logic is a collection of closely related artificial languages, and its older meaning is the study of the rules of sound argument. The languages can be used as a framework for studying rules of argument. | |
| From: Wilfrid Hodges (First-Order Logic [2001], 1.1) | |
| A reaction: [Hodges then says he will stick to the languages] The suspicion is that one might confine the subject to the artificial languages simply because it is easier, and avoids the tricky philosophical questions. That approximates to computer programming. |
| 10283 | A formula needs an 'interpretation' of its constants, and a 'valuation' of its variables [Hodges,W] |
| Full Idea: To have a truth-value, a first-order formula needs an 'interpretation' (I) of its constants, and a 'valuation' (ν) of its variables. Something in the world is attached to the constants; objects are attached to variables. | |
| From: Wilfrid Hodges (First-Order Logic [2001], 1.3) |
| 10284 | There are three different standard presentations of semantics [Hodges,W] |
| Full Idea: Semantic rules can be presented in 'Tarski style', where the interpretation-plus-valuation is reduced to the same question for simpler formulas, or the 'Henkin-Hintikka style' in terms of games, or the 'Barwise-Etchemendy style' for computers. | |
| From: Wilfrid Hodges (First-Order Logic [2001], 1.3) | |
| A reaction: I haven't yet got the hang of the latter two, but I note them to map the territory. |
| 10285 | I |= φ means that the formula φ is true in the interpretation I [Hodges,W] |
| Full Idea: I |= φ means that the formula φ is true in the interpretation I. | |
| From: Wilfrid Hodges (First-Order Logic [2001], 1.5) | |
| A reaction: [There should be no space between the vertical and the two horizontals!] This contrasts with |-, which means 'is proved in'. That is a syntactic or proof-theoretic symbol, whereas |= is a semantic symbol (involving truth). |
| 10289 | Up Löwenheim-Skolem: if infinite models, then arbitrarily large models [Hodges,W] |
| Full Idea: Upward Löwenheim-Skolem: every first-order theory with infinite models has arbitrarily large models. | |
| From: Wilfrid Hodges (First-Order Logic [2001], 1.10) |
| 10288 | Down Löwenheim-Skolem: if a countable language has a consistent theory, that has a countable model [Hodges,W] |
| Full Idea: Downward Löwenheim-Skolem (the weakest form): If L is a first-order language with at most countably many formulas, and T is a consistent theory in L. Then T has a model with at most countably many elements. | |
| From: Wilfrid Hodges (First-Order Logic [2001], 1.10) |
| 10287 | If a first-order theory entails a sentence, there is a finite subset of the theory which entails it [Hodges,W] |
| Full Idea: Compactness Theorem: suppose T is a first-order theory, ψ is a first-order sentence, and T entails ψ. Then there is a finite subset U of T such that U entails ψ. | |
| From: Wilfrid Hodges (First-Order Logic [2001], 1.10) | |
| A reaction: If entailment is possible, it can be done finitely. |
| 10286 | A 'set' is a mathematically well-behaved class [Hodges,W] |
| Full Idea: A 'set' is a mathematically well-behaved class. | |
| From: Wilfrid Hodges (First-Order Logic [2001], 1.6) |
| 15785 | Our commitments are to an 'ontology', but also to an 'ideology', or conceptual system [Hintikka] |
| Full Idea: We must distinguish between what we are committed to existing in the actual world or a possible world ('ontology'), and what we are committed to as a part of our ways of dealing with the world conceptually, as a part of our conceptual system ('ideology'). | |
| From: Jaakko Hintikka (Semantics for Propositional Attitudes [1969], p.95), quoted by William Lycan - The Trouble with Possible Worlds 02 | |
| A reaction: I think this is the most illuminating idea I have read on the subject of ontological commitment. I'm fighting for the idea that what we think is true should be kept separate from what we think exists. Ideology is a nice addition to the mix. |
| 15786 | Commitment to possible worlds is part of our ideology, not part of our ontology [Hintikka] |
| Full Idea: Quantification over members of one particular world is a measure of ideology, quantification that crosses possible worlds is often a measure of ideology. | |
| From: Jaakko Hintikka (Semantics for Propositional Attitudes [1969], p.95), quoted by William Lycan - The Trouble with Possible Worlds 02 | |
| A reaction: I like this. See Idea 15785 for the underlying distinction. It leaves the question open of what we might mean by 'ideological commitment'. |
| 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. |
| 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! |
| 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. |