9 ideas
| 8755 | Maddy replaces pure sets with just objects and perceived sets of objects [Maddy, by Shapiro] |
| Full Idea: Maddy dispenses with pure sets, by sketching a strong set theory in which everything is either a physical object or a set of sets of ...physical objects. Eventually a physiological story of perception will extend to sets of physical objects. | |
| From: report of Penelope Maddy (Realism in Mathematics [1990]) by Stewart Shapiro - Thinking About Mathematics 8.3 | |
| A reaction: This doesn't seem to find many supporters, but if we accept the perception of resemblances as innate (as in Hume and Quine), it is isn't adding much to see that we intrinsically see things in groups. |
| 10718 | A natural number is a property of sets [Maddy, by Oliver] |
| Full Idea: Maddy takes a natural number to be a certain property of sui generis sets, the property of having a certain number of members. | |
| From: report of Penelope Maddy (Realism in Mathematics [1990], 3 §2) by Alex Oliver - The Metaphysics of Properties | |
| A reaction: [I believe Maddy has shifted since then] Presumably this will make room for zero and infinities as natural numbers. Personally I want my natural numbers to count things. |
| 8756 | Intuition doesn't support much mathematics, and we should question its reliability [Maddy, by Shapiro] |
| Full Idea: Maddy says that intuition alone does not support very much mathematics; more importantly, a naturalist cannot accept intuition at face value, but must ask why we are justified in relying on intuition. | |
| From: report of Penelope Maddy (Realism in Mathematics [1990]) by Stewart Shapiro - Thinking About Mathematics 8.3 | |
| A reaction: It depends what you mean by 'intuition', but I identify with her second objection, that every faculty must ultimately be subject to criticism, which seems to point to a fairly rationalist view of things. |
| 17733 | We know mind-independent mathematical truths through sets, which rest on experience [Maddy, by Jenkins] |
| Full Idea: Maddy proposes that we can know (some) mind-independent mathematical truths through knowing about sets, and that we can obtain knowledge of sets through experience. | |
| From: report of Penelope Maddy (Realism in Mathematics [1990]) by Carrie Jenkins - Grounding Concepts 6.5 | |
| A reaction: Maddy has since backed off from this, and now tries to merely defend 'objectivity' about sets (2011:114). My amateurish view is that she is overrating the importance of sets, which merely model mathematics. Look at category theory. |
| 6382 | The 'grain problem' says physical objects are granular, where sensations appear not to be [Sellars, by Polger] |
| Full Idea: Sellars' Grain Problem contended that it was a problem for materialism that physical objects have a granularity whereas sensations are homogeneous and without grain. | |
| From: report of Wilfrid Sellars (Empiricism and the Philosophy of Mind [1956], Ch. n22) by Thomas W. Polger - Natural Minds Ch.1 n22 | |
| A reaction: This doesn't strike me as a serious problem. I assume that my sensations are granular, but at a level too fine for me to introspect. There are three hundred trillion connections in the brain (Idea 2952), a lot of them involved in sensations. |
| 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! |