11 ideas
| 10185 | Set theory is the standard background for modern mathematics [Burgess] |
| Full Idea: In present-day mathematics, it is set theory that serves as the background theory in which other branches of mathematics are developed. | |
| From: John P. Burgess (Review of Chihara 'Struct. Accnt of Maths' [2005], §1) | |
| A reaction: [He cites Bourbaki as an authority for this] See Benacerraf for a famous difficulty here, when you actually try to derive an ontology from the mathematicians' working practices. |
| 10184 | Structuralists take the name 'R' of the reals to be a variable ranging over structures, not a structure [Burgess] |
| Full Idea: On the structuralist interpretation, theorems of analysis concerning the real numbers R are about all complete ordered fields. So R, which appears to be the name of a specific structure, is taken to be a variable ranging over structures. | |
| From: John P. Burgess (Review of Chihara 'Struct. Accnt of Maths' [2005], §1) | |
| A reaction: Since I am beginning to think that nearly all linguistic expressions should be understood as variables, I find this very appealing, even if Burgess hates it. Terms slide and drift, and are vague, between variable and determinate reference. |
| 10189 | There is no one relation for the real number 2, as relations differ in different models [Burgess] |
| Full Idea: One might meet the 'Van Inwagen Problem' by saying that the intrinsic properties of the object playing the role of 2 will differ from one model to another, so that no statement about the intrinsic properties of 'the' real numbers will make sense. | |
| From: John P. Burgess (Review of Chihara 'Struct. Accnt of Maths' [2005], §5) | |
| A reaction: There seems to be a potential confusion among opponents of structuralism between relations at the level of actual mathematical operations, and generalisations about relations, which are captured in the word 'patterns'. Call them 'meta-relations'? |
| 10186 | If set theory is used to define 'structure', we can't define set theory structurally [Burgess] |
| Full Idea: It is to set theory that one turns for the very definition of 'structure', ...and this creates a problem of circularity if we try to impose a structuralist interpretation on set theory. | |
| From: John P. Burgess (Review of Chihara 'Struct. Accnt of Maths' [2005], §1) | |
| A reaction: This seems like a nice difficulty, especially if, like Shapiro, you wade in and try to give a formal account of structures and patterns. Resnik is more circumspect and vague. |
| 10187 | Abstract algebra concerns relations between models, not common features of all the models [Burgess] |
| Full Idea: Abstract algebra, such as group theory, is not concerned with the features common to all models of the axioms, but rather with the relationships among different models of those axioms (especially homomorphic relation functions). | |
| From: John P. Burgess (Review of Chihara 'Struct. Accnt of Maths' [2005], §1) | |
| A reaction: It doesn't seem to follow that structuralism can't be about the relations (or patterns) found when abstracting away and overviewing all the models. One can study family relations, or one can study kinship in general. |
| 10188 | How can mathematical relations be either internal, or external, or intrinsic? [Burgess] |
| Full Idea: The 'Van Inwagen Problem' for structuralism is of explaining how a mathematical relation (such as set membership, or the ratios of an ellipse) can fit into one of the three scholastics types of relations: are they internal, external, or intrinsic? | |
| From: John P. Burgess (Review of Chihara 'Struct. Accnt of Maths' [2005], §5) | |
| A reaction: The difficulty is that mathematical objects seem to need intrinsic properties to get any of these three versions off the ground (which was Russell's complaint against structures). |
| 8130 | Qualities of experience are just representational aspects of experience ('Representationalism') [Harman, by Burge] |
| Full Idea: Harman defended what came to be known as 'representationalism' - the view that qualitative aspects of experience are nothing other than representational aspects. | |
| From: report of Gilbert Harman (The Intrinsic Quality of Experience [1990]) by Tyler Burge - Philosophy of Mind: 1950-2000 p.459 | |
| A reaction: Functionalists like Harman have a fairly intractable problem with the qualities of experience, and this may be clutching at straws. What does 'represent' mean? How is the representation achieved? Why that particular quale? |
| 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! |