7 ideas
| 10053 | Geometrical axioms imply the propositions, but the former may not be true [Russell] |
| Full Idea: We must only assert of various geometries that the axioms imply the propositions, not that the axioms are true and therefore that the propositions are true. | |
| From: Bertrand Russell (Foundations of Geometry [1897], Intro vii), quoted by Alan Musgrave - Logicism Revisited §4 | |
| A reaction: Clearly the truth of the axioms can remain a separate issue from whether they actually imply the theorems. The truth of the axioms might be as much a metaphysical as an empirical question. Musgrave sees this as the birth of if-thenism. |
| 10052 | Geometry is united by the intuitive axioms of projective geometry [Russell, by Musgrave] |
| Full Idea: Russell sought what was common to Euclidean and non-Euclidean systems, found it in the axioms of projective geometry, and took a Kantian view of them. | |
| From: report of Bertrand Russell (Foundations of Geometry [1897]) by Alan Musgrave - Logicism Revisited §4 | |
| A reaction: Russell's work just preceded Hilbert's famous book. Tarski later produced some logical axioms for geometry. |
| 6981 | Determinism clashes with free will, as the past determines action, and is beyond our control [Inwagen, by Jackson] |
| Full Idea: I find compelling Peter van Ingwagen's argument that because the past is outside our control, and any action fully determined by something outside our control is not free, determinism is inconsistent with free will. | |
| From: report of Peter van Inwagen (An Essay on Free Will [1983]) by Frank Jackson - From Metaphysics to Ethics Ch.2 | |
| A reaction: I am puzzled by anyone who even dreamt that full blown free will (very free indeed) could be compatible with the view that past events impose a necessity on future events. So called 'compatibilists' strike me as being determinists. |
| 20440 | Art is a referential activity, hence indefinable, but it has a set of symptoms [Goodman] |
| Full Idea: No definition of art is possible (since it is a referential activity), …but the symptoms of art are syntactic density, semantic density, syntactic repleteness, exemplificationality, and multiple and complex reference. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.22-255), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: I wish these labels were more self-explanatory. Goodman seems to want to assimilate art to his earlier interests in linguistic anti-realism and mereology. I wouldn't have thought he now had many followers. |
| 20439 | Artistic symbols are judged by the fruitfulness of their classifications [Goodman, by Giovannelli] |
| Full Idea: Artistic symbols are to be judged for the classifications they bring about, for how novel and insightful those classifications are, for how they change our world perceptions and relations. | |
| From: report of Nelson Goodman (Languages of Art (2nd edn) [1968]) by Alessandro Giovannelli - Nelson Goodman (aesthetics) 4 | |
| A reaction: This seems to be an awfully long way from our normal experience of art. I understand 'symbols' in early Flemish art, but not in Mondriaan, or even Rembrandt. |
| 20438 | A performance is only an instance of a work if there is not a single error [Goodman] |
| Full Idea: The most miserable performance without actual mistakes does count as an instance of a work, …but the most brilliant performance with a single wrong note does not. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.186), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) | |
| A reaction: Mereological essentialism applied to art! You need to be a highly theoretical and technical philosopher (which Goodman was) to maintain such a weird and contrary-usage proposal. |
| 20437 | A copy only becomes an 'instance' of an artwork if there is a system of notation [Goodman] |
| Full Idea: Paintings and sculptures do not work within a notation; hence, there is no copying of an original that would preserve its originality. A copy of a painting is a copy, not an instance of the original. | |
| From: Nelson Goodman (Languages of Art (2nd edn) [1968], p.212), quoted by Alessandro Giovannelli - Nelson Goodman (aesthetics) 2 | |
| A reaction: Sounds conclusive, but isn't. Is a poetry manuscript a 'notation' or an original? Why is an etching plate a notation, but painting on canvas is an original? Can I create a painting specifically so that it can be copied (by my students)? Intention matters. |