Combining Texts

All the ideas for 'Croce and Collingwood', 'Principles of Theoretical Logic' and 'The Metaontology of Abstraction'

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15 ideas

2. Reason / F. Fallacies / 1. Fallacy
It is a fallacy to explain the obscure with the even more obscure [Hale/Wright]
4. Formal Logic / C. Predicate Calculus PC / 1. Predicate Calculus PC
The first clear proof of the consistency of the first order predicate logic was in 1928 [Hilbert/Ackermann, by Walicki]
5. Theory of Logic / F. Referring in Logic / 1. Naming / d. Singular terms
Singular terms refer if they make certain atomic statements true [Hale/Wright]
6. Mathematics / C. Sources of Mathematics / 6. Logicism / c. Neo-logicism
Neo-Fregeanism might be better with truth-makers, rather than quantifier commitment [Hale/Wright]
6. Mathematics / C. Sources of Mathematics / 6. Logicism / d. Logicism critique
Are neo-Fregeans 'maximalists' - that everything which can exist does exist? [Hale/Wright]
7. Existence / D. Theories of Reality / 11. Ontological Commitment / a. Ontological commitment
The identity of Pegasus with Pegasus may be true, despite the non-existence [Hale/Wright]
8. Modes of Existence / B. Properties / 3. Types of Properties
Maybe we have abundant properties for semantics, and sparse properties for ontology [Hale/Wright]
8. Modes of Existence / B. Properties / 10. Properties as Predicates
A successful predicate guarantees the existence of a property - the way of being it expresses [Hale/Wright]
18. Thought / E. Abstraction / 7. Abstracta by Equivalence
Abstractionism needs existential commitment and uniform truth-conditions [Hale/Wright]
Equivalence abstraction refers to objects otherwise beyond our grasp [Hale/Wright]
19. Language / B. Reference / 4. Descriptive Reference / a. Sense and reference
Reference needs truth as well as sense [Hale/Wright]
21. Aesthetics / A. Aesthetic Experience / 1. Aesthetics
By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp]
21. Aesthetics / B. Nature of Art / 4. Art as Expression
Expression can be either necessary for art, or sufficient for art (or even both) [Kemp]
We don't already know what to express, and then seek means of expressing it [Kemp]
The horror expressed in some works of art could equallly be expressed by other means [Kemp]