Aristotle's Philosophy of Mathematics
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THE THEORY of MATHEMATICAL SUBTRACTION in ARISTOTLE By
THE THEORY OF MATHEMATICAL SUBTRACTION IN ARISTOTLE by Ksenia Romashova Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2019 © Copyright by Ksenia Romashova, 2019 DEDICATION PAGE To my Mother, Vera Romashova Мама, Спасибо тебе за твою бесконечную поддержку, дорогая! ii TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................. iv ABSTRACT ............................................................................................................................... v LIST OF ABBREVIATIONS USED ....................................................................................... vi ACKNOWLEDGEMENTS ..................................................................................................... vii CHAPTER 1 INTRODUCTION ............................................................................................... 1 CHAPTER 2 THE MEANING OF ABSTRACTION .............................................................. 6 2.1 Etymology and Evolution of the Term ................................................................... 7 2.2 The Standard Phrase τὰ ἐξ ἀφαιρέσεως or ‘Abstract Objects’ ............................ 19 CHAPTER 3 GENERAL APPLICATION OF ABSTRACTION .......................................... 24 3.1 The Instances of Aphairein in Plato’s Dialogues ................................................. 24 3.2 The Use of Aphairein in Aristotle’s Topics -
Continuity and Mathematical Ontology in Aristotle
Journal of Ancient Philosophy, vol. 14 issue 1, 2020. DOI: http://dx.doi.org/10.11606/issn.1981-9471.v14i1p30-61 Continuity and Mathematical Ontology in Aristotle Keren Wilson Shatalov In this paper I argue that Aristotle’s understanding of mathematical continuity constrains the mathematical ontology he can consistently hold. On my reading, Aristotle can only be a mathematical abstractionist of a certain sort. To show this, I first present an analysis of Aristotle’s notion of continuity by bringing together texts from his Metaphysica and Physica, to show that continuity is, for Aristotle, a certain kind of per se unity, and that upon this rests his distinction between continuity and contiguity. Next I argue briefly that Aristotle intends for his discussion of continuity to apply to pure mathematical objects such as lines and figures, as well as to extended bodies. I show that this leads him to a difficulty, for it does not at first appear that the distinction between continuity and contiguity can be preserved for abstract mathematicals. Finally, I present a solution according to which Aristotle’s understanding of continuity can only be saved if he holds a certain kind of mathematical ontology. My topic in this paper is Aristotle’s understanding of mathematical continuity. While the idea that continua are composed of infinitely many points is the present day orthodoxy, the Aristotelian understanding of continua as non-punctiform and infinitely divisible was the reigning theory for much of the history of western mathematics, and there is renewed interest in it from current mathematicians and philosophers of mathematics. -
Berkeley's Case Against Realism About Dynamics
Lisa Downing [Published in Berkeley’s Metaphysics, ed. Muehlmann, Penn State Press 1995, 197-214. Turbayne Essay Prize winner, 1992.] Berkeley's case against realism about dynamics While De Motu, Berkeley's treatise on the philosophical foundations of mechanics, has frequently been cited for the surprisingly modern ring of certain of its passages, it has not often been taken as seriously as Berkeley hoped it would be. Even A.A. Luce, in his editor's introduction to De Motu, describes it as a modest work, of limited scope. Luce writes: The De Motu is written in good, correct Latin, but in construction and balance the workmanship falls below Berkeley's usual standards. The title is ambitious for so brief a tract, and may lead the reader to expect a more sustained argument than he will find. A more modest title, say Motion without Matter, would fitly describe its scope and content. Regarded as a treatise on motion in general, it is a slight and disappointing work; but viewed from a narrower angle, it is of absorbing interest and high importance. It is the application of immaterialism to contemporary problems of motion, and should be read as such. ...apart from the Principles the De Motu would be nonsense.1 1The Works of George Berkeley, Bishop of Cloyne, ed. A.A. Luce and T.E. Jessop (London: Thomas Nelson and Sons, 1948-57), 4: 3-4. In this paper, all references to Berkeley are to the Luce-Jessop edition. Quotations from De Motu are taken from Luce's translation. I use the following abbreviations for Berkeley’s works: PC Philosophical Commentaries PHK-I Introduction to The Principles of Human Knowledge PHK The Principles of Human Knowledge DM De Motu A Alciphron TVV The Theory of Vision Vindicated and Explained S Siris 1 There are good general reasons to think, however, that Berkeley's aims in writing the book were as ambitious as the title he chose. -
The Synthesis of Empiricism and Innatism in Berkeley's Doctrine Of
Berkeley Studies 21 (2010) 3 The Synthesis of Empiricism and Innatism in Berkeley’s Doctrine of Notions James Hill Abstract: This essay argues that Berkeley’s doctrine of notions is an account of concept-formation that offers a middle-way between empiricism and innatism, something which Berkeley himself asserts at Siris 308. First, the widespread assumption that Berkeley accepts Locke’s conceptual empiricism is questioned, with particular attention given to Berkeley’s views on innatism and ideas of reflection. Then, it is shown that Berkeley’s doctrine of notions comes very close to the refined form of innatism to be found in Descartes’ later writings and in Leibniz. Finally, it is argued that Berkeley denies a principle common to both empiricism and innatism, namely, that all conceptual knowledge amounts to the perception of ideas. By denying this―at least in the case of the concepts of self, causation, substance, and virtue―Berkeley is able to provide a synthesis of conceptual empiricism and innatism. In Siris, Berkeley offers us a characteristically succinct reflection on his doctrine of notions: [Aristotle] held that the mind of man was a tabula rasa, and that there were no innate ideas. Plato, on the contrary, held original ideas in the mind; that is, notions which never were or can be in the sense, such as being, beauty, goodness, likeness, parity. Some, perhaps, may think the truth to be this: that there are properly no ideas, or passive objects, in the mind but what were derived from sense: but that there are also besides these her own acts or operations; such are notions. -
Abstraction’ in Aristotle [13]
ON THE TERMINOLOGY OF ‘ABSTRACTION’ IN ARISTOTLE [13] If we look at the standard commentaries on Aristotle’s philosophy, we nd the term ‘abstraction’ constantly being used to characterise his epistemology in contrast to that of Plato. Historically speaking, it may have been Aquinas1 who was responsible for making ‘abstractionism’ the by-word for a kind of empiricism which holds that all knowledge derives from the senses. Indeed, the unanimity of the commentators appears to be such that it has congealed into the dogma that Aristotle’s theory of knowledge is basically abstractionist in character.2 In spite of the weight of opinion, I must confess myself to be sceptical about this dogma. Since this may appear heretical to some readers, I hasten to clarify my scepticism. I do not doubt that Aristotle opposed Plato’s theory of recollection with his own claim that all of our knowledge ultimately derives from the senses. What I do question is whether Aristotle ever gives the name ‘abstraction’ to the process by which we grasp universals through sense experience. It is a well-known yet puzzling fact that such terminology does not appear in those few passages where Aristotle actually describes this process (An. Post. II, 19 and Met. I, 1). Now what are we to make of this fact? Perhaps one might object that this is purely a philological issue, but I am convinced that it has more general signi cance for the interpretation of Aristotle. In this paper, therefore, I propose to make a fresh analysis of the ter- minology of ‘abstraction’ as it is used in the Aristotelian corpus. -
Abstractionist Class Theory: Is There Any Such Thing?
Abstractionist class theory: Is there any such thing? Michael Potter Final draft Timothy Smiley and I have published two papers jointly (2001; 2002). Their purpose was to point at problems for the abstractionist (or neo-Fregean) account of arithmetic. In the course of our work on these papers Timothy taught me a great deal about how philosophy should be written: he simply would not let me include a sentence whose meaning was not completely clear to him. The current article, which extends the exploration of difficulties with abstractionism from the case of numbers to that of classes, provides an opportunity for readers to judge to what extent I have taken this lesson to heart. 1 Abstractionism An abstractionist, as I shall use the term here, is someone who attempts to ground an account of part of mathematics on an abstraction principle, i.e. an equivalence of the form Σ(F ) = Σ(G) iff F ∼ G; where ∼ is some suitably chosen equivalence relation on properties which can be defined without using the term-forming operator Σ. It is standardly assumed by abstractionists that the background logic is second-order. This assumption is not critical to the formulation of the position: there is nothing essentially second- order about the notion of an abstraction principle. However, the assumption is critical to the non-triviality of abstractionism: in a purely first-order context, the consequences of abstraction principles turn out to be disappointingly an- odyne. Much could be said about the ontological assumptions implicit in the abstractionist's adoption of second-order logic, but I shall not say it here. -
Radical Hope Ethics in the Face of Cultural Devastation By: Jonathan Lear
Radical Hope Ethics In The Face Of Cultural Devastation By: Jonathan Lear Chapter 3: Critique of Abysmal Reasoning Submitted by Paul Lussier ‘Recommended Readings’ for the Aspen/Yale Conference 2007 The following is an excerpt from: Jonathan Lear, Radical Hope: Ethics in the Face of Cultural Devastation, Harvard University Press (2006), pp.118-154 1 Radical Hope: Ethics in the Face of Cultural Devastation By: Jonathan Lear Chapter 3: Critique of Abysmal Reasoning Courage and Hope Thus far I have argued that Plenty Coups's dream tracked reality at two levels. First, it picked up the anxiety of the tribe and responded to it. Second, insofar as the tribe's anxiety was justified--that it was a response to a menacing yet uncertain future--the dream addressed this real-life challenge at one remove. But the case for imaginative excellence can be made stronger than that. At a time of radical historical change, the concept of courage will itself require new forms. This is the reality that needs to be faced--the call for concepts--and it would seem that if one were to face up to such a challenge well it would have to be done imaginatively. Courage, as a state of character, is constituted in part by certain ideals--ideals of what it is to live well, to live courageously. These ideals are alive in the community, but they also take hold in a courageous person's soul. As we saw in the preceding chapter, these ideals come to constitute a courageous person's ego-idea22 In traditional times, it was in terms of such an ideal that a courageous warrior would "face up to reality"-that is, decide what to do in the face of changing circumstances. -
Lear, Jonathan
“To Become Human Does Not Come at Easily” JONATHAN LEAR T T L H V Delivered at Harvard University November –, ® · is the John U. Nef Distinguished Service Professor at the Committee on Social ought and the Department of Philoso- phy at the University of Chicago. He was educated at Yale, the Univer- sity of Cambridge, and the Rockefeller University where he received his Ph.D. in Philosophy in . Before coming to the University of Chi- cago, he taught at the University of Cambridge, where he was a Lecturer in the Faculty of Philosophy and a Fellow and Director of Studies in Philosophy at Clare College. He then taught at Yale, where he was the Kingman Brewster Professor of the Humanities, and he served as Chair of the Philosophy Department. During his tenure at Yale, he trained as a psychoanalyst at the Western New England Institute for Psychoanalysis. He currently serves on the faculty there as well as at the Chicago Institute for Psychoanalysis. His research focuses on philosophical conceptions of the human psyche. He has published on Socrates, Plato, and Aristotle as well as on Kierkegaard, Heidegger, Wittgenstein, and Freud. His books include Aristotle and Logical eory ( ), Aristotle: e Desire to Under- stand ( ), Loe and Its Place in Nature: A Philosophical Interpretation of Freudian Psychoanalysis ( ), Open Minded: Working Out the Logic of the Soul ( ), Happiness, Death, and the Remainder of Life (), erapeutic Action: An Earnest Plea for Irony (), Freud (), and Radical Hope: Ethics in the Face of Cultural Devastation (). He is coeditor with Alex Oliver of e Force of Argument (). -
R.Harte Dissertation
UNIVERSITY OF CALIFORNIA RIVERSIDE Poetic Philosophy in Plato and Zhuangzi A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Ryan J. Harte June 2020 Dissertation Committee: Dr. Lisa Raphals, Chairperson Dr. Perry Link Dr. Yang Ye Dr. Zina Giannopoulou Copyright by Ryan J. Harte 2020 The Dissertation of Ryan J. Harte is approved: ——————————————————————————— ——————————————————————————— ——————————————————————————— ——————————————————————————— Committee Chairperson ACKNOWLEDGMENTS I’ve always liked this remark from Cornel West: “I am who I am because somebody loved me.” It would be impractical to list everyone whose love in one way or another sustained me throughout my academic trip thus far, but a few names deserve outstanding mention: Kathleen (“mom”) for everything, Aunt Julie for getting all “verklempt” when I got into college, Tim for actually choosing to be my brother, Carly for seeing me and being seen, Sean for the sustenance of true friendship and the scraping heart-to-hearts, Wing for lung-fulls of fresh air when I needed them early on, and Ariel for the love and the generosity and the desert—in other words, for making southern California not only bearable but sometimes beautiful. The first question my supervisor, Lisa Raphals, asked upon meeting me in-person was whether I had food in my fridge and an acceptable place to sleep. My endless thanks to her for recognizing that there is a whole person attached to the scholar. Graduate students talk, and so I am keenly aware of my good fortune in having an advisor with whom I can openly disagree, caustically joke, and enjoy a meal (usually generously cooked by her). -
A Moral Reconciliation with Aristotle's Intellectualism
Georgia State University ScholarWorks @ Georgia State University Philosophy Theses Department of Philosophy 8-11-2015 A Moral Reconciliation With Aristotle's Intellectualism Asher Reisman Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/philosophy_theses Recommended Citation Reisman, Asher, "A Moral Reconciliation With Aristotle's Intellectualism." Thesis, Georgia State University, 2015. https://scholarworks.gsu.edu/philosophy_theses/177 This Thesis is brought to you for free and open access by the Department of Philosophy at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Philosophy Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. A MORAL RECONCILIATION WITH ARISTOTLE’S INTELLECTUALISM by ASHER REISMAN Under the Direction of Peter Lindsay ABSTRACT Aristotle’s complete picture of human flourishing departs problematically from our commonplace conceptions of personal moral goodness when he draws rapid conclusions in Book X concerning the eudaimonic supremacy of theoria; a static comprehension of the timeless order of nature exemplified by the academic philosopher. I develop a sympathetic account of this anxiety as a philosophically legitimate ground of resistance to Aristotle, but go on to make a further case drawing on resources from Aristotle, particularly the relationship between phronesis and theoria and the role of friendship, which I believe can bring about significant -
Featured Releases 2 Limited Editions 102 Journals 109
Lorenzo Vitturi, from Money Must Be Made, published by SPBH Editions. See page 125. Featured Releases 2 Limited Editions 102 Journals 109 CATALOG EDITOR Thomas Evans Fall Highlights 110 DESIGNER Photography 112 Martha Ormiston Art 134 IMAGE PRODUCTION Hayden Anderson Architecture 166 COPY WRITING Design 176 Janine DeFeo, Thomas Evans, Megan Ashley DiNoia PRINTING Sonic Media Solutions, Inc. Specialty Books 180 Art 182 FRONT COVER IMAGE Group Exhibitions 196 Fritz Lang, Woman in the Moon (film still), 1929. From The Moon, Photography 200 published by Louisiana Museum of Modern Art. See Page 5. BACK COVER IMAGE From Voyagers, published by The Ice Plant. See page 26. Backlist Highlights 206 Index 215 Hilma af Klint: Paintings for the Future Edited with text by Tracey Bashkoff. Text by Tessel M. Bauduin, Daniel Birnbaum, Briony Fer, Vivien Greene, David Max Horowitz, Andrea Kollnitz, Helen Molesworth, Julia Voss. When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1,000 paintings and works on paper that she had kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint’s radically abstract painting practice—one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism. -
The Aesthetic Experience of Kandinsky's Abstract Art: A
Zlom2_2017_Sestava 1 22.9.17 11:02 Stránka 212 Aesthetic Experience of Kandinsky’s Abstract Art: A Polemic with Henry’s Phenomenological Analysis THE AESTHETIC EXPERIENCE OF KANDINSKY’S ABSTRACT ART: A POLEMIC WITH HENRY’S PHENOMENOLOGICAL ANALYSIS ANNA ZIÓŁKOWSKA-JUŚ The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess (1) how Henry interprets Kandinsky’s abstract art and theory; (2) what the consequences of his interpretation mean for the theory of the experience of abstract art; and (3) what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite its containing many interesting ideas, Henry’s phenomenological approach is insufficient to describe the aesthetic experience of Kandinsky’s abstract art. For Henry, aesthetic experience is corporeal, primordial, non-intentional, and independent of knowledge and culture. By contrast, I believe that it is possible and more suitable to connect the direct, corporeal, and affective character of the aesthetic experience of abstract art with intentionality and embeddedness in culture and knowledge. The French phenomenologist Michel Henry’s (1922–2002) discussions concentrate on corporeality and what he calls ‘Life’. Henry sees a similarity between the primordial experience of Life and the aesthetic experience of Wassily Kandinsky’s (1866–1944) art. This article seeks to contribute to our understanding of the sense of aesthetic experience in abstract art from a phenomenological perspective. The aim is actually threefold. It seeks (1) to explain and assess how Henry interprets Kandinsky’s abstract art and theory, (2) to determine the consequences of his interpretation for the theory of the experience of abstract art, and (3) to identify doubts and questions which emerge from Henry’s interpretations of Kandinsky’s theory and practice.