10 ideas
| 7557 | To solve Zeno's paradox, reject the axiom that the whole has more terms than the parts [Russell] |
| Full Idea: Presumably Zeno appealed to the axiom that the whole has more terms than the parts; so if Achilles were to overtake the tortoise, he would have been in more places than the tortoise, which he can't be; but the conclusion is absurd, so reject the axiom. | |
| From: Bertrand Russell (Mathematics and the Metaphysicians [1901], p.89) | |
| A reaction: The point is that the axiom is normally acceptable (a statue contains more particles than the arm of the statue), but it breaks down when discussing infinity (Idea 7556). Modern theories of infinity are needed to solve Zeno's Paradoxes. |
| 10059 | In mathematic we are ignorant of both subject-matter and truth [Russell] |
| Full Idea: Mathematics may be defined as the subject in which we never know what we are talking about, nor whether what we are saying is true. | |
| From: Bertrand Russell (Mathematics and the Metaphysicians [1901], p.76) | |
| A reaction: A famous remark, though Musgrave is rather disparaging about Russell's underlying reasoning here. |
| 10245 | One geometry cannot be more true than another [Poincaré] |
| Full Idea: One geometry cannot be more true than another; it can only be more convenient. | |
| From: Henri Poincaré (Science and Method [1908], p.65), quoted by Stewart Shapiro - Philosophy of Mathematics | |
| A reaction: This is the culminating view after new geometries were developed by tinkering with Euclid's parallels postulate. |
| 7556 | A collection is infinite if you can remove some terms without diminishing its number [Russell] |
| Full Idea: A collection of terms is infinite if it contains as parts other collections which have as many terms as it has; that is, you can take away some terms of the collection without diminishing its number; there are as many even numbers as numbers all together. | |
| From: Bertrand Russell (Mathematics and the Metaphysicians [1901], p.86) | |
| A reaction: He cites Dedekind and Cantor as source for these ideas. If it won't obey the rule that subtraction makes it smaller, then it clearly isn't a number, and really it should be banned from all mathematics. |
| 7554 | Self-evidence is often a mere will-o'-the-wisp [Russell] |
| Full Idea: Self-evidence is often a mere will-o'-the-wisp, which is sure to lead us astray if we take it as our guide. | |
| From: Bertrand Russell (Mathematics and the Metaphysicians [1901], p.78) | |
| A reaction: The sort of nice crisp remark you would expect from a good empiricist philosopher. Compare Idea 4948. However Russell qualifies it with the word 'often', and all philosophers eventually realise that you have to start somewhere. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |