26 ideas
| 8623 | Proof reveals the interdependence of truths, as well as showing their certainty [Euclid, by Frege] |
| Full Idea: Euclid gives proofs of many things which anyone would concede to him without question. ...The aim of proof is not merely to place the truth of a proposition beyond doubt, but also to afford us insight into the dependence of truths upon one another. | |
| From: report of Euclid (Elements of Geometry [c.290 BCE]) by Gottlob Frege - Grundlagen der Arithmetik (Foundations) §02 | |
| A reaction: This connects nicely with Shoemaker's view of analysis (Idea 8559), which I will adopt as my general view. I've always thought of philosophy as the aspiration to wisdom through the cartography of concepts. |
| 13907 | If you pick an arbitrary triangle, things proved of it are true of all triangles [Euclid, by Lemmon] |
| Full Idea: Euclid begins proofs about all triangles with 'let ABC be a triangle', but ABC is not a proper name. It names an arbitrarily selected triangle, and if that has a property, then we can conclude that all triangles have the property. | |
| From: report of Euclid (Elements of Geometry [c.290 BCE]) by E.J. Lemmon - Beginning Logic 3.2 | |
| A reaction: Lemmon adds the proviso that there must be no hidden assumptions about the triangle we have selected. You must generalise the properties too. Pick a triangle, any triangle, say one with three angles of 60 degrees; now generalise from it. |
| 6007 | If you know your father, but don't recognise your father veiled, you know and don't know the same person [Eubulides, by Dancy,R] |
| Full Idea: The 'undetected' or 'veiled' paradox of Eubulides says: if you know your father, and don't know the veiled person before you, but that person is your father, you both know and don't know the same person. | |
| From: report of Eubulides (fragments/reports [c.390 BCE]) by R.M. Dancy - Megarian School | |
| A reaction: Essentially an uninteresting equivocation on two senses of "know", but this paradox comes into its own when we try to give an account of how linguistic reference works. Frege's distinction of sense and reference tried to sort it out (Idea 4976). |
| 6006 | If you say truly that you are lying, you are lying [Eubulides, by Dancy,R] |
| Full Idea: The liar paradox of Eubulides says 'if you state that you are lying, and state the truth, then you are lying'. | |
| From: report of Eubulides (fragments/reports [c.390 BCE]) by R.M. Dancy - Megarian School | |
| A reaction: (also Cic. Acad. 2.95) Don't say it, then. These kind of paradoxes of self-reference eventually lead to Russell's 'barber' paradox and his Theory of Types. |
| 6008 | Removing one grain doesn't destroy a heap, so a heap can't be destroyed [Eubulides, by Dancy,R] |
| Full Idea: The 'sorites' paradox of Eubulides says: if you take one grain of sand from a heap (soros), what is left is still a heap; so no matter how many grains of sand you take one by one, the result is always a heap. | |
| From: report of Eubulides (fragments/reports [c.390 BCE]) by R.M. Dancy - Megarian School | |
| A reaction: (also Cic. Acad. 2.49) This is a very nice paradox, which goes to the heart of our bewilderment when we try to fully understand reality. It homes in on problems of identity, as best exemplified in the Ship of Theseus (Ideas 1212 + 1213). |
| 6297 | Euclid's geometry is synthetic, but Descartes produced an analytic version of it [Euclid, by Resnik] |
| Full Idea: Euclid's geometry is a synthetic geometry; Descartes supplied an analytic version of Euclid's geometry, and we now have analytic versions of the early non-Euclidean geometries. | |
| From: report of Euclid (Elements of Geometry [c.290 BCE]) by Michael D. Resnik - Maths as a Science of Patterns One.4 | |
| A reaction: I take it that the original Euclidean axioms were observations about the nature of space, but Descartes turned them into a set of pure interlocking definitions which could still function if space ceased to exist. |
| 9603 | An assumption that there is a largest prime leads to a contradiction [Euclid, by Brown,JR] |
| Full Idea: Assume a largest prime, then multiply the primes together and add one. The new number isn't prime, because we assumed a largest prime; but it can't be divided by a prime, because the remainder is one. So only a larger prime could divide it. Contradiction. | |
| From: report of Euclid (Elements of Geometry [c.290 BCE]) by James Robert Brown - Philosophy of Mathematics Ch.1 | |
| A reaction: Not only a very elegant mathematical argument, but a model for how much modern logic proceeds, by assuming that the proposition is false, and then deducing a contradiction from it. |
| 9894 | A unit is that according to which each existing thing is said to be one [Euclid] |
| Full Idea: A unit is that according to which each existing thing is said to be one. | |
| From: Euclid (Elements of Geometry [c.290 BCE], 7 Def 1) | |
| A reaction: See Frege's 'Grundlagen' §29-44 for a sustained critique of this. Frege is good, but there must be something right about the Euclid idea. If I count stone, paper and scissors as three, each must first qualify to be counted as one. Psychology creeps in. |
| 8738 | Postulate 2 says a line can be extended continuously [Euclid, by Shapiro] |
| Full Idea: Euclid's Postulate 2 says the geometer can 'produce a finite straight line continuously in a straight line'. | |
| From: report of Euclid (Elements of Geometry [c.290 BCE]) by Stewart Shapiro - Thinking About Mathematics 4.2 | |
| A reaction: The point being that this takes infinity for granted, especially if you start counting how many points there are on the line. The Einstein idea that it might eventually come round and hit you on the back of the head would have charmed Euclid. |
| 22278 | Euclid relied on obvious properties in diagrams, as well as on his axioms [Potter on Euclid] |
| Full Idea: Euclid's axioms were insufficient to derive all the theorems of geometry: at various points in his proofs he appealed to properties that are obvious from the diagrams but do not follow from the stated axioms. | |
| From: comment on Euclid (Elements of Geometry [c.290 BCE]) by Michael Potter - The Rise of Analytic Philosophy 1879-1930 03 'aim' | |
| A reaction: I suppose if the axioms of a system are based on self-evidence, this would licence an appeal to self-evidence elsewhere in the system. Only pedants insist on writing down what is obvious to everyone! |
| 8673 | Euclid's parallel postulate defines unique non-intersecting parallel lines [Euclid, by Friend] |
| Full Idea: Euclid's fifth 'parallel' postulate says if there is an infinite straight line and a point, then there is only one straight line through the point which won't intersect the first line. This axiom is independent of Euclid's first four (agreed) axioms. | |
| From: report of Euclid (Elements of Geometry [c.290 BCE]) by Michèle Friend - Introducing the Philosophy of Mathematics 2.2 | |
| A reaction: This postulate was challenged in the nineteenth century, which was a major landmark in the development of modern relativist views of knowledge. |
| 10250 | Euclid needs a principle of continuity, saying some lines must intersect [Shapiro on Euclid] |
| Full Idea: Euclid gives no principle of continuity, which would sanction an inference that if a line goes from the outside of a circle to the inside of circle, then it must intersect the circle at some point. | |
| From: comment on Euclid (Elements of Geometry [c.290 BCE]) by Stewart Shapiro - Philosophy of Mathematics 6.1 n2 | |
| A reaction: Cantor and Dedekind began to contemplate discontinuous lines. |
| 10302 | Euclid says we can 'join' two points, but Hilbert says the straight line 'exists' [Euclid, by Bernays] |
| Full Idea: Euclid postulates: One can join two points by a straight line; Hilbert states the axiom: Given any two points, there exists a straight line on which both are situated. | |
| From: report of Euclid (Elements of Geometry [c.290 BCE]) by Paul Bernays - On Platonism in Mathematics p.259 |
| 14157 | Modern geometries only accept various parts of the Euclid propositions [Russell on Euclid] |
| Full Idea: In descriptive geometry the first 26 propositions of Euclid hold. In projective geometry the 1st, 7th, 16th and 17th require modification (as a straight line is not a closed series). Those after 26 depend on the postulate of parallels, so aren't assumed. | |
| From: comment on Euclid (Elements of Geometry [c.290 BCE]) by Bertrand Russell - The Principles of Mathematics §388 |
| 1600 | Euclid's common notions or axioms are what we must have if we are to learn anything at all [Euclid, by Roochnik] |
| Full Idea: The best known example of Euclid's 'common notions' is "If equals are subtracted from equals the remainders are equal". These can be called axioms, and are what "the man who is to learn anything whatever must have". | |
| From: report of Euclid (Elements of Geometry [c.290 BCE], 72a17) by David Roochnik - The Tragedy of Reason p.149 |
| 20429 | Most of us are too close to our own motives to understand them [Fry] |
| Full Idea: The motives we actually experience are too close to us to enable us to feel them clearly. They are in a sense unintelligible. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.30) | |
| A reaction: Fry is defending the role of art in clarifying and highlighting such things, but I am not convinced by his claim. We can grasp most of our motives with a little introspection, and those we can't grasp are probably too subtle for art as well. |
| 20424 | Imaginative life requires no action, so new kinds of perception and values emerge in art [Fry] |
| Full Idea: In the imaginative life no action is necessary, so the whole consciousness may be focused upon the perceptive and the emotional aspects of the experience. Hence we get a different set of values, and a different kind of perception | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.24) | |
| A reaction: Good. A huge range of human activities are like scientific experiments, where you draw on our evolved faculties, but put them in controlled conditions, where the less convenient and stressful parts are absent. War and sport. Real and theatrical tragedy. |
| 20427 | Everyone reveals an aesthetic attitude, looking at something which only exists to be seen [Fry] |
| Full Idea: It is only when an object exists for no other purpose than to be seen that we really look at it, …and then even the most normal person adopts to some extent the artistic attitude of pure vision abstracted from necessity. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A painter of still life looks at things which exist for other purposes, with just the attitude which Fry attributes to the viewers of the paintings. We can encourage a child to look at a flower with just this attitude. |
| 20433 | 'Beauty' can either mean sensuous charm, or the aesthetic approval of art (which may be ugly) [Fry] |
| Full Idea: There is an apparent contradiction between two distinct uses of the word 'beauty', one for that which has sensuous charm, and one for the aesthetic approval of works of imaginative art where the objects presented to us are often of extreme ugliness. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: The gouging of eyes in 'King Lear' was always the big problem case for aesthetics, just as nowadays it is Marcel Duchamp's wretched 'Fountain'. |
| 20430 | In life we neglect 'cosmic emotion', but it matters, and art brings it to the fore [Fry] |
| Full Idea: Those feelings unhappily named cosmic emotion find almost no place in life, but, since they seem to belong to certain very deep springs of our nature, do become of great importance in the arts. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.31) | |
| A reaction: Focus on the sublime was big in the romantic era, but Fry still sees its importance, and I don't think it ever goes away. Art styles which scorn the sublime are failing to perform their social duty, say I. |
| 20431 | Art needs a mixture of order and variety in its sensations [Fry] |
| Full Idea: The first quality that we demand in our [artistic] sensations will be order, without which our sensations will be troubled and perplexed, and the other will be variety, without which they will not be fully stimulated. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.32) | |
| A reaction: He makes good claims, but gives unconvincing reasons for them. Some of us rather like 'troubled and perplexed' sensations. And a very narrow range of sensations could still be highly stimulated. Is Fry a good aesthetician but a modest philosopher? |
| 20423 | If graphic arts only aim at imitation, their works are only trivial ingenious toys [Fry] |
| Full Idea: If imitation is the sole purpose of the graphic arts, it is surprising that the works of such arts are ever looked upon as more than curiosities, or ingenious toys, and are ever taken seriously by grown-up people. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.23) | |
| A reaction: But then you might say that same about fine wines. A mere nice taste is hardly worthy of grown ups, and yet lots of grown ups feeling quite passionately about it. What about Fabergé eggs? |
| 20428 | Popular opinion favours realism, yet most people never look closely at anything! [Fry] |
| Full Idea: Ordinary people have almost no idea of what things really look like, so that the one standard that popular criticism applies to painting (whether it is like nature or not) is the one which most people are prevented frm applying properly. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.29) | |
| A reaction: A nice remark, though there is a streak of Bloomsbury artistic snobbery running through Fry. Ordinary people recognise photographic realism, so they can study things closely either in the reality or the picture, should they so choose. |
| 20432 | When viewing art, rather than flowers, we are aware of purpose, and sympathy with its creator [Fry] |
| Full Idea: In our reaction to a work of art (rather than a flower) there is the consciousness of purpose, of a peculiar relation of sympathy with the man who made this thing in order to arouse precisely the sensations we experience. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.33) | |
| A reaction: I think this is entirely right. I like the mention of 'sympathy' as well as 'purpose'. |
| 20425 | In the cinema the emotions are weaker, but much clearer than in ordinary life [Fry] |
| Full Idea: One notices in the visions of the cinematograph that whatever emotions are aroused by them, though they are likely to be weaker than those of ordinary life, are presented more clearly to the conscious. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.25) | |
| A reaction: Fry had probably only seen very simple melodramas, but the general idea that artistic emotions are weaker than real life, but much clearer, is quite plausible. |
| 20426 | For pure moralists art must promote right action, and not just be harmless [Fry] |
| Full Idea: To the pure moralist, accepting nothing but ethical values, to be justified, the life of the imagination must be shown not only not to hinder but actually to forward right action, otherwise it is not only useless but, by absorbing energies, harmful. | |
| From: Roger Fry (An Essay in Aesthetics [1909], p.26) | |
| A reaction: I think this is the sort of attitude you find in Samuel Johnson. Puritans even reject light music, which seems pleasantly harmless to the rest of us. 'Absorbing energies' doesn't sound much of an objection, and may not be the actual objection. |