31 ideas
| 18806 | Frege thought traditional categories had psychological and linguistic impurities [Frege, by Rumfitt] |
| Full Idea: Frege rejected the traditional categories as importing psychological and linguistic impurities into logic. | |
| From: report of Gottlob Frege (Function and Concept [1891]) by Ian Rumfitt - The Boundary Stones of Thought 1.2 | |
| A reaction: Resisting such impurities is the main motivation for making logic entirely symbolic, but it doesn't follow that the traditional categories have to be dropped. |
| 8490 | First-level functions have objects as arguments; second-level functions take functions as arguments [Frege] |
| Full Idea: Just as functions are fundamentally different from objects, so also functions whose arguments are and must be functions are fundamentally different from functions whose arguments are objects. The latter are first-level, the former second-level, functions. | |
| From: Gottlob Frege (Function and Concept [1891], p.38) | |
| A reaction: In 1884 he called it 'second-order'. This is the standard distinction between first- and second-order logic. The first quantifies over objects, the second over intensional entities such as properties and propositions. |
| 8492 | Relations are functions with two arguments [Frege] |
| Full Idea: Functions of one argument are concepts; functions of two arguments are relations. | |
| From: Gottlob Frege (Function and Concept [1891], p.39) | |
| A reaction: Nowadays we would say 'two or more'. Another interesting move in the aim of analytic philosophy to reduce the puzzling features of the world to mathematical logic. There is, of course, rather more to some relations than being two-argument functions. |
| 8487 | Arithmetic is a development of logic, so arithmetical symbolism must expand into logical symbolism [Frege] |
| Full Idea: I am of the opinion that arithmetic is a further development of logic, which leads to the requirement that the symbolic language of arithmetic must be expanded into a logical symbolism. | |
| From: Gottlob Frege (Function and Concept [1891], p.30) | |
| A reaction: This may the the one key idea at the heart of modern analytic philosophy (even though logicism may be a total mistake!). Logic and arithmetical foundations become the master of ontology, instead of the servant. The jury is out on the whole enterprise. |
| 18899 | Frege takes the existence of horses to be part of their concept [Frege, by Sommers] |
| Full Idea: Frege regarded the existence of horses as a property of the concept 'horse'. | |
| From: report of Gottlob Frege (Function and Concept [1891]) by Fred Sommers - Intellectual Autobiography 'Realism' |
| 4028 | Frege allows either too few properties (as extensions) or too many (as predicates) [Mellor/Oliver on Frege] |
| Full Idea: Frege's theory of properties (which he calls 'concepts') yields too few properties, by identifying coextensive properties, and also too many, by letting every predicate express a property. | |
| From: comment on Gottlob Frege (Function and Concept [1891]) by DH Mellor / A Oliver - Introduction to 'Properties' §2 | |
| A reaction: Seems right; one extension may have two properties (have heart/kidneys), two predicates might express the same property. 'Cutting nature at the joints' covers properties as well as objects. |
| 20339 | Classes rarely share properties with their members - unlike universals and types [Wollheim] |
| Full Idea: Classes can share properties with their members (e.g. the class of big things is big), but this is very rare. ....In the case of both universals and types, there will be shared properties. Red things can be exhilarating, and so can redness. | |
| From: Richard Wollheim (Art and Its Objects [1968], 92) | |
| A reaction: 'Exhilarating' is an extrinsic property, so not the best illustration. This is interesting, but would need checking with a wide range of examples. (Too busy for that right now) |
| 8489 | The concept 'object' is too simple for analysis; unlike a function, it is an expression with no empty place [Frege] |
| Full Idea: I regard a regular definition of 'object' as impossible, since it is too simple to admit of logical analysis. Briefly: an object is anything that is not a function, so that an expression for it does not contain any empty place. | |
| From: Gottlob Frege (Function and Concept [1891], p.32) | |
| A reaction: Here is the core of the programme for deriving our ontology from our logic and language, followed through by Russell and Quine. Once we extend objects beyond the physical, it becomes incredibly hard to individuate them. |
| 20338 | We often treat a type as if it were a sort of token [Wollheim] |
| Full Idea: Much of the time we think and talk of a type as though it were itself a kind of token. | |
| From: Richard Wollheim (Art and Its Objects [1968], 35) | |
| A reaction: A helpful way of connecting what I call 'objectification' to the more conventional modern philosophical vocabulary. Thus I might claim that beauty is superior to truth, as if they were two tokens. |
| 9947 | Concepts are the ontological counterparts of predicative expressions [Frege, by George/Velleman] |
| Full Idea: Concepts, for Frege, are the ontological counterparts of predicative expressions. | |
| From: report of Gottlob Frege (Function and Concept [1891]) by A.George / D.J.Velleman - Philosophies of Mathematics Ch.2 | |
| A reaction: That sounds awfully like what many philosophers call 'universals'. Frege, as a platonist (at least about numbers), I would take to be in sympathy with that. At least we can say that concepts seem to be properties. |
| 10319 | An assertion about the concept 'horse' must indirectly speak of an object [Frege, by Hale] |
| Full Idea: Frege had a notorious difficulty over the concept 'horse', when he suggests that if we wish to assert something about a concept, we are obliged to proceed indirectly by speaking of an object that represents it. | |
| From: report of Gottlob Frege (Function and Concept [1891], Ch.2.II) by Bob Hale - Abstract Objects | |
| A reaction: This sounds like the thin end of a wedge. The great champion of objects is forced to accept them here as a façon de parler, when elsewhere they have ontological status. |
| 8488 | A concept is a function whose value is always a truth-value [Frege] |
| Full Idea: A concept in logic is closely connected with what we call a function. Indeed, we may say at once: a concept is a function whose value is always a truth-value. ..I give the name 'function' to what is meant by the 'unsaturated' part. | |
| From: Gottlob Frege (Function and Concept [1891], p.30) | |
| A reaction: So a function becomes a concept when the variable takes a value. Problems arise when the value is vague, or the truth-value is indeterminable. |
| 9948 | Unlike objects, concepts are inherently incomplete [Frege, by George/Velleman] |
| Full Idea: For Frege, concepts differ from objects in being inherently incomplete in nature. | |
| From: report of Gottlob Frege (Function and Concept [1891]) by A.George / D.J.Velleman - Philosophies of Mathematics Ch.2 | |
| A reaction: This is because they are 'unsaturated', needing a quantified variable to complete the sentence. This could be a pointer towards Quine's view of properties, as simply an intrinsic feature of predication about objects, with no separate identity. |
| 4972 | I may regard a thought about Phosphorus as true, and the same thought about Hesperus as false [Frege] |
| Full Idea: From sameness of meaning there does not follow sameness of thought expressed. A fact about the Morning Star may express something different from a fact about the Evening Star, as someone may regard one as true and the other false. | |
| From: Gottlob Frege (Function and Concept [1891], p.14) | |
| A reaction: This all gets clearer if we distinguish internalist and externalist theories of content. Why take sides on this? Why not just ask 'what is in the speaker's head?', 'what does the sentence mean in the community?', and 'what is the corresponding situation?' |
| 20342 | Interpretation is performance for some arts, and critical for all arts [Wollheim] |
| Full Idea: Performative interpretation occurs only with certain arts, but critical intepretation pertains to all. | |
| From: Richard Wollheim (Art and Its Objects [1968], 38) | |
| A reaction: Fairly obvious, but this is the first point to make about the concept of 'interpretation'. Does the word in fact have two meanings? Or do I perform a painting when I look carefully at it? |
| 20343 | A love of nature must precede a love of art [Wollheim] |
| Full Idea: We could not have a feeling for the beauties of art unless we had been correspondingly moved in front of nature. | |
| From: Richard Wollheim (Art and Its Objects [1968], 43) | |
| A reaction: Wollheim offers this in defence of Kant's view, without necessarily agreeing. Similarly one could hardly care for fictional characters, but not for real people. So the aesthetic attitude may arise from life, rather than from art. Is art hence unimportant? |
| 20348 | A criterion of identity for works of art would be easier than a definition [Wollheim] |
| Full Idea: Maybe, rather than defining art, it would be more fruitful, and more realistic, to seek a general method of identifying works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 60) | |
| A reaction: The whole enterprise is ruined by Marcel Duchamp! I'm more interested in identifying or defining good art. |
| 20347 | If beauty needs organisation, then totally simple things can't be beautiful [Wollheim] |
| Full Idea: It is said that beauty cannot consist in organisation because, if it did, we would not be able to predicate beauty of totally simple objects. | |
| From: Richard Wollheim (Art and Its Objects [1968], 59) | |
| A reaction: [He says this idea originates in Plotinus] I'm struggling to think of an example of something which is 'totally' simple and beautiful. Maybe a patch of colour like the breast of a bullfinch? |
| 20345 | Some say art must have verbalisable expression, and others say the opposite! [Wollheim] |
| Full Idea: The view that a work of art expresses nothing if it can't be put into other words ...is reduced by the view that a work of art has no value if what it expresses or says can be put into (other) words. | |
| From: Richard Wollheim (Art and Its Objects [1968], 49) | |
| A reaction: I prefer the second view. Poetry is what is lost in translation. Good art actually seems to evoke emotions which one virtually never feels in ordinary life. But how could that be possible? What are those emotions doing there? |
| 20331 | It is claimed that the expressive properties of artworks are non-physical [Wollheim] |
| Full Idea: The argument that works of art have properties that physical objects could not have characteristically concentrates on the expressive properties of works of art. | |
| From: Richard Wollheim (Art and Its Objects [1968], 10) | |
| A reaction: Since the idea of an object having non-physical properties strikes me as ridiculous, this gets off to a bad start. If artworks are abstract objects, then all of their properties are non-physical. |
| 20336 | Style can't be seen directly within a work, but appreciation needs a grasp of style [Wollheim] |
| Full Idea: 'Style' would seem to be a concept that cannot be applied to a work solely on the basis of what is represented and yet it is also essential to a proper understanding or appreciation of a work. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Sounds right. One long held musical note creates an expectation which depends on the presumed style of the piece of music. A single bar from a piece may well not exhibit its characteristic style. |
| 20337 | The traditional view is that knowledge of its genre to essential to appreciating literature [Wollheim] |
| Full Idea: From Aristotle onwards it has been a tenet of the traditional rhetoric that the proper understanding of a literary work involves the location of it in the correct genre, that is, as drama, epic or lyric. | |
| From: Richard Wollheim (Art and Its Objects [1968], 32) | |
| A reaction: Walton argues this persuasively. I've seen the climax of a Jacobean tragedy ruined by laughter from the audience. Genre dictates appropriate responses, so it is a communal concept. |
| 20333 | If artworks are not physical objects, they are either ideal entities, or collections of phenomena [Wollheim] |
| Full Idea: In denying that works of art are physical objects, one theory (the 'ideal') withdraws them altogether from experience, and a second theory ('phenomenal') pins them too it inescapably and at all points. | |
| From: Richard Wollheim (Art and Its Objects [1968], 21) | |
| A reaction: I incline towards them being transient ideals, created by human minds. As with so much, we idealise and objectify them as 'works', and abstract their image from the instance(s) we encounter. |
| 20334 | The ideal theory says art is an intuition, shaped by a particular process, and presented in public [Wollheim] |
| Full Idea: The ideal theory of Croce and Collingwood says art is first an inner intuition or expression of the artist, resulting from a particular process of organisation and unification, which can be externalised in public form. | |
| From: Richard Wollheim (Art and Its Objects [1968], 22) | |
| A reaction: [compressed] As stated this doesn't sound very controversial or 'ideal'. I take it the theory is intended to be more platonist than this expression of it suggests. I think the idea that it is an 'expression' of the artist is wrong. |
| 20335 | The ideal theory of art neglects both the audience and the medium employed [Wollheim] |
| Full Idea: Because the ideal theory makes a work of art inner or mental, the link between the artist and the audience has been severed .....and it also totally ignores the significance of the medium. | |
| From: Richard Wollheim (Art and Its Objects [1968], 23) | |
| A reaction: Emily Dickinson had virtually no audience for her poetry. The medium used to perform Bach's 'Art of Fugue' seems unimportant. For paintings of painterly painters paint matters. For some visual art many different media will suffice. |
| 20340 | A musical performance has virtually the same features as the piece of music [Wollheim] |
| Full Idea: With the usual reservations, there is nothing that can be predicated of a performance of a piece of music that could not also be predicated of that piece of music itself. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: He offers this as evidence that it fits the performance being a token, and music (and all other art) being a type. There are quite a few 'reservations'. Music too difficult to perform. Great music always badly performed. |
| 20341 | An interpretation adds further properties to the generic piece of music [Wollheim] |
| Full Idea: Interpretation may be regarded as the production of a token that has properties in excess of those of the type. | |
| From: Richard Wollheim (Art and Its Objects [1968], 37) | |
| A reaction: I suppose so. If you play accurately everything that is written in the score, then anything else has to be an addition. If you play less than the score, you aren't quite playing that piece of music. |
| 20332 | A drawing only represents Napoleon if the artist intended it to [Wollheim] |
| Full Idea: It is necessary, if a drawing is to represent Napoleon, that the draughtsman should intend it to be Napoleon. | |
| From: Richard Wollheim (Art and Its Objects [1968], 13) | |
| A reaction: Does a perfect and intended representation of a person also count as a representation of the person's identical twin? The families of both might well order copies. |
| 21947 | Power is localised, so we either have totalitarian centralisation, or local politics [Foucault, by Gutting] |
| Full Idea: Foucault's analysis suggests that meaningful revolution, hence genuine liberation, is impossible: the only alternative to the modern net of micro-centres of power is totalitatian domination. Hence his politics, even when revolutionary, is always local. | |
| From: report of Michel Foucault (Discipline and Punish [1977]) by Gary Gutting - Foucault: a very short introduction 8 | |
| A reaction: It is hard to disagree with this. |
| 21946 | Prisons gradually became our models for schools, hospitals and factories [Foucault, by Gutting] |
| Full Idea: Foucault's thesis is that disciplinary techniques introduced for criminals became the model for other modern sites of control (schools, hospitals, factories), so that prison discipline pervades all of society. | |
| From: report of Michel Foucault (Discipline and Punish [1977]) by Gary Gutting - Foucault: a very short introduction 8 | |
| A reaction: Someone recently designed Foucault Monopoly, where every location is a prison. All tightly controlled organisations, such as a medieval monastery, or the Roman army, will inevitably share many features. |
| 8491 | The Ontological Argument fallaciously treats existence as a first-level concept [Frege] |
| Full Idea: The ontological proof of God's existence suffers from the fallacy of treating existence as a first-level concept. | |
| From: Gottlob Frege (Function and Concept [1891], p.38 n) | |
| A reaction: [See Idea 8490 for first- and second-order functions] This is usually summarised as the idea that existence is a quantifier rather than a predicate. |