10 ideas
| 17833 | The first-order ZF axiomatisation is highly non-categorical [Hallett,M] |
| Full Idea: The first-order Sermelo-Fraenkel axiomatisation is highly non-categorical. | |
| From: Michael Hallett (Introduction to Zermelo's 1930 paper [1996], p.1213) |
| 17834 | Non-categoricity reveals a sort of incompleteness, with sets existing that the axioms don't reveal [Hallett,M] |
| Full Idea: The non-categoricity of the axioms which Zermelo demonstrates reveals an incompleteness of a sort, ....for this seems to show that there will always be a set (indeed, an unending sequence) that the basic axioms are incapable of revealing to be sets. | |
| From: Michael Hallett (Introduction to Zermelo's 1930 paper [1996], p.1215) | |
| A reaction: Hallett says the incompleteness concerning Zermelo was the (transfinitely) indefinite iterability of the power set operation (which is what drives the 'iterative conception' of sets). |
| 17837 | Zermelo allows ur-elements, to enable the widespread application of set-theory [Hallett,M] |
| Full Idea: Unlike earlier writers (such as Fraenkel), Zermelo clearly allows that there might be ur-elements (that is, objects other than the empty set, which have no members). Indeed he sees in this the possibility of widespread application of set-theory. | |
| From: Michael Hallett (Introduction to Zermelo's 1930 paper [1996], p.1217) |
| 17836 | The General Continuum Hypothesis and its negation are both consistent with ZF [Hallett,M] |
| Full Idea: In 1938, Gödel showed that ZF plus the General Continuum Hypothesis is consistent if ZF is. Cohen showed that ZF and not-GCH is also consistent if ZF is, which finally shows that neither GCH nor ¬GCH can be proved from ZF itself. | |
| From: Michael Hallett (Introduction to Zermelo's 1930 paper [1996], p.1217) |
| 13165 | Geometrical proofs do not show causes, as when we prove a triangle contains two right angles [Proclus] |
| Full Idea: Geometry does not ask 'why?' ..When from the exterior angle equalling two opposite interior angles it is shown that the interior angles make two right angles, this is not a causal demonstration. With no exterior angle they still equal two right angles. | |
| From: Proclus (Commentary on Euclid's 'Elements' [c.452], p.161-2), quoted by Paolo Mancosu - Explanation in Mathematics §5 | |
| A reaction: A very nice example. It is hard to imagine how one might demonstrate the cause of the angles making two right angles. If you walk, turn left x°, then turn left y°, then turn left z°, and x+y+z=180°, you end up going in the original direction. |
| 9569 | The origin of geometry started in sensation, then moved to calculation, and then to reason [Proclus] |
| Full Idea: It is unsurprising that geometry was discovered in the necessity of Nile land measurement, since everything in the world of generation goes from imperfection to perfection. They would naturally pass from sense-perception to calculation, and so to reason. | |
| From: Proclus (Commentary on Euclid's 'Elements' [c.452]), quoted by Charles Chihara - A Structural Account of Mathematics 9.12 n55 | |
| A reaction: The last sentence is the core of my view on abstraction, that it proceeds by moving through levels of abstraction, approaching more and more general truths. |
| 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! |