10 ideas
| 8698 | Modal structuralism says mathematics studies possible structures, which may or may not be actualised [Hellman, by Friend] |
| Full Idea: The modal structuralist thinks of mathematical structures as possibilities. The application of mathematics is just the realisation that a possible structure is actualised. As structures are possibilities, realist ontological problems are avoided. | |
| From: report of Geoffrey Hellman (Mathematics without Numbers [1989]) by Michèle Friend - Introducing the Philosophy of Mathematics 4.3 | |
| A reaction: Friend criticises this and rejects it, but it is appealing. Mathematics should aim to be applicable to any possible world, and not just the actual one. However, does the actual world 'actualise a mathematical structure'? |
| 9557 | Statements of pure mathematics are elliptical for a sort of modal conditional [Hellman, by Chihara] |
| Full Idea: Hellman represents statements of pure mathematics as elliptical for modal conditionals of a certain sort. | |
| From: report of Geoffrey Hellman (Mathematics without Numbers [1989]) by Charles Chihara - A Structural Account of Mathematics 5.3 | |
| A reaction: It's a pity there is such difficulty in understanding conditionals (see Graham Priest on the subject). I intuit a grain of truth in this, though I take maths to reflect the structure of the actual world (with possibilities being part of that world). |
| 10263 | Modal structuralism can only judge possibility by 'possible' models [Shapiro on Hellman] |
| Full Idea: The usual way to show that a sentence is possible is to show that it has a model, but for Hellman presumably a sentence is possible if it might have a model (or if, possibly, it has a model). It is not clear what this move brings us. | |
| From: comment on Geoffrey Hellman (Mathematics without Numbers [1989]) by Stewart Shapiro - Philosophy of Mathematics 7.3 | |
| A reaction: I can't assess this, but presumably the possibility of the model must be demonstrated in some way. Aren't all models merely possible, because they are based on axioms, which seem to be no more than possibilities? |
| 2602 | What experience could prove 'If a=c and b=c then a=b'? [Descartes] |
| Full Idea: Please tell me what the corporeal motion is that is capable of forming some common notion to the effect that 'things which are equal to a third thing are equal to each other'. | |
| From: René Descartes (Comments on a Certain Broadsheet [1644], p.366) |
| 2600 | The mind's innate ideas are part of its capacity for thought [Descartes] |
| Full Idea: I have never written or taken the view that the mind requires innate ideas which are something distinct from its own faculty of thinking. | |
| From: René Descartes (Comments on a Certain Broadsheet [1644], p.365) |
| 2601 | Qualia must be innate, because physical motions do not contain them [Descartes] |
| Full Idea: The ideas of pains, colours, sounds etc. must be all the more innate if, on the occasion of certain corporeal motions, our mind is to be capable of representing them to itself, for there is no similarity between these ideas and the corporeal motions. | |
| From: René Descartes (Comments on a Certain Broadsheet [1644], p.365) | |
| A reaction: Simple and brilliant! We know perfectly well that there is no redness zooming through the air from a tomato (or the air would be pink!). Redness occurs when the light arrives, so we add the redness, so it is innate. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |