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All the ideas for '', 'Elucidation of some points in E.Schrder' and 'Introductions to 'Aesthetics and the Phil of Art''

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8 ideas

4. Formal Logic / F. Set Theory ST / 3. Types of Set / b. Empty (Null) Set

14238	A class is an aggregate of objects; if you destroy them, you destroy the class; there is no empty class [Frege]
	Full Idea: A class consists of objects; it is an aggregate, a collective unity, of them; if so, it must vanish when these objects vanish. If we burn down all the trees of a wood, we thereby burn down the wood. Thus there can be no empty class.
	From: Gottlob Frege (Elucidation of some points in E.Schröder [1895], p.212), quoted by Oliver,A/Smiley,T - What are Sets and What are they For?
	A reaction: This rests on Cantor's view of a set as a collection, rather than on Dedekind, which allows null and singleton sets.

5. Theory of Logic / A. Overview of Logic / 1. Overview of Logic

11211	If a sound conclusion comes from two errors that cancel out, the path of the argument must matter [Rumfitt]
	Full Idea: If a designated conclusion follows from the premisses, but the argument involves two howlers which cancel each other out, then the moral is that the path an argument takes from premisses to conclusion does matter to its logical evaluation.
	From: Ian Rumfitt ("Yes" and "No" [2000], II)
	A reaction: The drift of this is that our view of logic should be a little closer to the reasoning of ordinary language, and we should rely a little less on purely formal accounts.

5. Theory of Logic / E. Structures of Logic / 2. Logical Connectives / a. Logical connectives

11210	Standardly 'and' and 'but' are held to have the same sense by having the same truth table [Rumfitt]
	Full Idea: If 'and' and 'but' really are alike in sense, in what might that likeness consist? Some philosophers of classical logic will reply that they share a sense by virtue of sharing a truth table.
	From: Ian Rumfitt ("Yes" and "No" [2000])
	A reaction: This is the standard view which Rumfitt sets out to challenge.

11212	The sense of a connective comes from primitively obvious rules of inference [Rumfitt]
	Full Idea: A connective will possess the sense that it has by virtue of its competent users' finding certain rules of inference involving it to be primitively obvious.
	From: Ian Rumfitt ("Yes" and "No" [2000], III)
	A reaction: Rumfitt cites Peacocke as endorsing this view, which characterises the logical connectives by their rules of usage rather than by their pure semantic value.

19. Language / F. Communication / 3. Denial

11214	We learn 'not' along with affirmation, by learning to either affirm or deny a sentence [Rumfitt]
	Full Idea: The standard view is that affirming not-A is more complex than affirming the atomic sentence A itself, with the latter determining its sense. But we could learn 'not' directly, by learning at once how to either affirm A or reject A.
	From: Ian Rumfitt ("Yes" and "No" [2000], IV)
	A reaction: [compressed] This seems fairly anti-Fregean in spirit, because it looks at the psychology of how we learn 'not' as a way of clarifying what we mean by it, rather than just looking at its logical behaviour (and thus giving it a secondary role).

21. Aesthetics / A. Aesthetic Experience / 1. Aesthetics

20327	Modern attention has moved from the intrinsic properties of art to its relational properties [Lamarque/Olson]
	Full Idea: In modern discussions, rather than look for intrinsic properties of objects, including aesthetic or formal properties, attention has turned to extrinsic or relational properties, notably of a social, historical, or 'institutional' nature.
	From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
	A reaction: Lots of modern branches of philosophy have made this move, which seems to me like a defeat. We want to know why things have the relations they do. Just mapping the relations is superficial Humeanism.

21. Aesthetics / B. Nature of Art / 1. Defining Art

20326	Early 20th cent attempts at defining art focused on significant form, intuition, expression, unity [Lamarque/Olson]
	Full Idea: In the early twentieth century there were numerous attempts at defining the essence art. Significant form, intuition, the expression of emotion, organic unity, and other notions, were offered to this end.
	From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 1)
	A reaction: As far as I can see the whole of aesthetics was demolished in one blow by Marcel Duchamp's urinal. Artists announce: we will tell you what art is; you should just sit and listen. Compare the invention of an anarchic sport.

21. Aesthetics / B. Nature of Art / 7. Ontology of Art

20330	The dualistic view says works of art are either abstract objects (types), or physical objects [Lamarque/Olson]
	Full Idea: The dualistic view of the arts holds that works of art come in two fundamentally different kinds: those that are abstract entities, i.e. types, and those that are physical objects (tokens).
	From: Lamargue,P/Olson,SH (Introductions to 'Aesthetics and the Phil of Art' [2004], Pt 2)
	A reaction: Paintings are the main reason for retaining physical objects. Strawson 1974 argues that paintings are only physical because we cannot yet perfectly reproduce them. I agree. Works of art are types, not tokens.