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Essays in Philosophy

Russell's Paradox in Frege's System. Russel had told Frege his paradox. In Frege's system, the paradox has a different formulation. Frege defined a concept. As a function that has a truth-value. Frege used the notion of the extension. One of the famous axioms in Frege's system is the Basic Law V:. If and only if ∀ x. The equality in the left-hand side means the concepts F. Have the same extension (as an object), while the equality in the right-hand side means F. Let us consider a concept H. 8743; ¬ G.

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Russell's Paradox in Frege's System. Russel had told Frege his paradox. In Frege's system, the paradox has a different formulation. Frege defined a concept. As a function that has a truth-value. Frege used the notion of the extension. One of the famous axioms in Frege's system is the Basic Law V:. If and only if ∀ x. The equality in the left-hand side means the concepts F. Have the same extension (as an object), while the equality in the right-hand side means F. Let us consider a concept H. 8743; ¬ G.

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Essays in Philosophy | essays-in-philosophy.blogspot.com Reviews

https://essays-in-philosophy.blogspot.com

Russell's Paradox in Frege's System. Russel had told Frege his paradox. In Frege's system, the paradox has a different formulation. Frege defined a concept. As a function that has a truth-value. Frege used the notion of the extension. One of the famous axioms in Frege's system is the Basic Law V:. If and only if ∀ x. The equality in the left-hand side means the concepts F. Have the same extension (as an object), while the equality in the right-hand side means F. Let us consider a concept H. 8743; ¬ G.

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Essays in Philosophy: Russell's Paradox and Cantor's Theorem

http://essays-in-philosophy.blogspot.com/2010/01/russells-paradox-and-cantors-theorem.html

Russell's Paradox and Cantor's Theorem. Russell's paradox asks whether the "set" R. Is not an element of x. Is an element of itself. As it was mentioned in a previous article. It seems that Russell discovered the paradox as a result of his analysis on Cantor's theorem on the cardinality (i.e. the "number of elements") of the power set (i.e. the set of all subsets) of a set. In the following discussion, let P. Denote the power set of a set A. Furthermore, some common axioms of the set theory are assumed.

2

Essays in Philosophy: Identity in Tractatus

http://essays-in-philosophy.blogspot.com/2008/11/identity-in-tractatus.html

In Tractatus, identity of object Wittgenstein expresses by identity of sign, and not by using a sign for identity (5.53). He speaks roughly that (5.5303):. To say of two things that they are identical is nonsense, and to say of one thing that it is identical with itself is to say nothing at all. In fact, as Russell says in his introduction to Tractatus, the rejection of identity removes one method of speaking of the totality of things. Subscribe to: Post Comments (Atom). View my complete profile.

3

Essays in Philosophy: Russell's Paradox in Frege's System

http://essays-in-philosophy.blogspot.com/2010/01/russells-paradox-in-freges-system.html

Russell's Paradox in Frege's System. Russel had told Frege his paradox. In Frege's system, the paradox has a different formulation. Frege defined a concept. As a function that has a truth-value. Frege used the notion of the extension. One of the famous axioms in Frege's system is the Basic Law V:. If and only if ∀ x. The equality in the left-hand side means the concepts F. Have the same extension (as an object), while the equality in the right-hand side means F. Let us consider a concept H. 8743; ¬ G.

4

Essays in Philosophy: 2010.01

http://essays-in-philosophy.blogspot.com/2010_01_01_archive.html

Russell's Paradox in Frege's System. Russel had told Frege his paradox. In Frege's system, the paradox has a different formulation. Frege defined a concept. As a function that has a truth-value. Frege used the notion of the extension. One of the famous axioms in Frege's system is the Basic Law V:. If and only if ∀ x. The equality in the left-hand side means the concepts F. Have the same extension (as an object), while the equality in the right-hand side means F. Let us consider a concept H. 8743; ¬ G.

5

Essays in Philosophy: Tractatus on Causality

http://essays-in-philosophy.blogspot.com/2009/07/tractatus-on-causality.html

From Tractatus' logical point of view,. Outside logic everything is accidental. 63) It is not at all surprising. To say so, we must first clarify what it means by accident. If we define an accident / contingency to be a fact (what is a fact anyway? As it is stated in Tractatus,. In logic nothing is accidental. There are no pictures that are true a priori. All deductions are made a priori. This is connected with the fact that no part of our experience is at the same time a priori. 51361). However, in ...

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Alan's POV: 2008/06

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雖然布烈遜（Bresson）的《大概是魔鬼》（Le diable probablement）被人們放在法國６８年五月風暴的電影回顧展，作為對後６８的探討，但相信我，縱使沒有這場風暴，也不管布烈遜是否（他是）支持昂利朗瓦（Langlois），布烈遜仍然會拍像《大概是魔鬼》這樣的電影。大概我們可以說布烈遜「憤世嫉俗」。但小心，既然有救贖之心，那是「愛之愈深恨之愈切」的「憤世嫉俗」。他作為電影作者，你看看布烈遜對電影的愛，對電影的恨。許多我們所謂的經典，什麼影史上百大電影，布烈遜卻嗤之以鼻，說是「劇場錄像」。作為電影作者，布烈遜從來不屬於什麼主義或任何流派。 "My illness is seeing too clearly.". 12298;大概是魔鬼》的 Charles 如是說。Charles 「憤世嫉俗」，但我們不能說他是阿飛。阿飛是"rebel without a cause"，但 Charles 有很多 causes （電影中已經有大量最直接的控訴），卻沒有 ...65288;Domenico）到了２００８年的今天，人們已經感知到他們的所作所為對大自然引起的變化&#65...

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Alan's POV: 2009/09

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二十年前在新華戲院看《悲情城市》。雖然我是個自小「星光伴我心」的影迷、灣仔海旁影院的常客，但看《悲情城市》，也許是因為梁朝偉，和當時電影在臺灣賣座。應該是第一次看侯孝賢，當時的感覺其實只有沈悶。當時的我，不只不知什麼二二八事件，對一切歷史、政治也一竅不通，「六四」才是我的啟蒙。最初聽說什麼「長鏡頭」（Long Take），還以為指全景鏡（Long Shot）。這部電影，二十年間已經看了不知多少次，隨著個人在各方面的成長，《悲情城市》漸漸地成為我幾部最愛的電影之一。記得香港九七回歸前後，很多人常把「悲情城市」掛在口邊。一九四五年臺灣回歸祖國，在腐敗的陳儀政府管治下，臺灣人覺得臺灣只不過是從日本的殖民地變成國民黨的殖民地。近年天水圍被香港人標籤化為「悲情城市」，香港人其實可有自省？我不是說香港人要負責任，但無知、沈默或短視其實最終只有害了自己。 12300;回到祖國的懷抱…得到祖國的蔽蔭！」. 美國密歇根大學的 Nornes 及香港浸會大學的葉月瑜曾撰文. 約在影片的兩小時24分鐘，小兒子阿謙在身旁，寬美在寫：. 12298;悲情城市》的鏡頭平均長43秒，最長的超過三分鐘&#...要捕捉演員的真實&#6...

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Alan's POV: 似是有緣人（Certified Copy）

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似是有緣人（Certified Copy）. 基阿魯斯達米（Kiarostami）的電影《似是有緣人》（Certified Copy）一開始已直接提出這個問題：藝術複製品與原作有何區別？那是男主人公 James 的新書【Certified Copy】義大利文譯本在義大利的發佈會（這譯本也是個作者 certified 的 copy），他還（在發佈會）以我們是祖先 DNA 的複製、（後來在博物館）藝術原作也是真實事物的副本等去支持他主張：「Forget the Original, Just Get a Good Copy」. 很明顯，要解答藝術複製與原創的問題，我們先要弄清何謂藝術；而當我們搞清楚什麼是藝術，複製與原創的問題也許甚至給消解（而不是解答）了－複製品是否因為它是複製品而沒有藝術價值？但問什麼是藝術其實不是要求一個定義，我不相信有這樣一個定義，你是不能給藝術畫一條界線的，縱使在無限遠的界線，就如維根斯坦（Wittge...也許我們可以想想以下這些問題。電影敘事的邏輯是什麼？為什麼電影故事要跟據這樣的邏輯連貫起來？我們是否一定要了解作者的意圖？有些記錄片可以是藝術；而一般新聞片我們...

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Alan's POV: WALL·E

http://alan-pov.blogspot.com/2008/08/walle.html

人類今天的所作所為，將會令地球不再適合生物棲息，人類只有在太空流浪。那可不是荷馬筆下，或者２００１年在太空流浪（漫遊？）的奧德賽（Odyssey）。 12300; 我不是要存活，我要生活！ 12300; 上帝已死！ 12301;查拉圖斯特拉如是說。但在廿一世紀的今天回望，自從工業革命以還，人類世界漸漸地形成另外一個上帝－科技之神。人們盲目地信奉這個神，成為科技的奴隸。看看片中的人類，一隻隻肥豬似的，正是尼采眼中那些懦弱、人云亦云的弱者。與其依賴神靈，毋寧相信自己，成為科技的主人，就如尼采說人要成為超人－【查拉圖斯特拉如是說】奏起，艦長反抗了，就如《２００１太空漫遊》的 Bowman。就像奧德賽，人類終於回到家裡。片末人類歷史的循環，正是古希臘畢達哥拉斯學派及斯多葛學派，和後來尼采提倡的「永恆的回歸」。這樣的一部片子，讓不同的人有不同的觀感（我不太喜歡用「雅俗共賞」這個詞，誰俗誰雅？誰去判斷？），從藝術的角度看也是一個成就（我也不喜歡用藝術／商業去將...2008 年 8 月 3 日. Hi,我之前都有睇過你o既blog,都幾鐘意睇你寫D野,有point,幾中肯,措詞又唔會激進. 我說不喜歡用藝術&#...

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Alan's POV: 青空之行者（The Sky Crawlers）

http://alan-pov.blogspot.com/2009/04/sky-crawlers.html

青空之行者（The Sky Crawlers）. 那是個荒謬的世界。當世界永久和平，戰爭卻成為真槍實彈的表演，讓人們目睹戰爭的殘酷，人才會珍惜和平．．． 12298;青空之行者》（The Sky Crawlers）仍是押井守的作者電影，充滿他的個人標記：巴吉度獵犬（basset hound）、槍械、極度逼真的場景、音樂盒（其實只有機械卻沒有盒）彈奏的主旋律、主題曲的女聲合唱、對存在的探索等等。主人公函南優一和草薙水素就是戰爭秀的戰機機師－一種喚作 kildren 的人類，他們長春不老，永無停息地參與空戰，直至戰死。但戰死了卻會作為另一個人再生。今生幹着不斷重複的活，生生世世的輪迴，小循環外有大循環，直至永恆。尾段工作人員表後新到任機師的報到（縱使是絢香的歌迷，不是影癡影迷會留下看完工作人員表嗎？），呼應着前面函南初見草薙，令觀眾相信那是函南再生。還有湯田川死後接任的機...對於永恆的循環，尼采同樣積極。他的【快樂的科學】（Die fröhliche Wissenschaft）第 341 節的標題為「最沈重...電影整體的橋段是循環，電影裡的情節也是如此。函南在 Daniel...日本人仍未能接受未滿二...

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Alan's POV: 時光微塵（The Dust of Time）

http://alan-pov.blogspot.com/2010/05/dust-of-time.html

時光微塵（The Dust of Time）. 安哲羅普洛斯（Angelopoulos）的希臘首部曲《悲傷草原》（The Weeping Meadow）是部現代希臘悲劇，第二部曲《時光微塵》（The Dust of Time）卻是對悲劇的省思，無論是作為一種藝術形式的悲劇還是個人和民族的悲劇（安氏的戲中戲已把兩者「等同」）。人們緬懷過去的美好時光（片中 Jacob 說的 Good Old Days），對逝去的包括人和事感到悲傷。但萬物終將消逝，時間卻不可逆轉。悲劇，源於人對永恆的執著。那麼什麼是永恆？人們說永恆就是從過去、現在，到將來無止境的時間的延續。但將來的不可知，所以也許我們只好透過對過去和現在的探討去嘗試了解永恆。 12298;時光微塵》，就如安氏說，「把過去處理成現在。」. 65288;無論是否認同把他稱為「最後的現代主義者」，我們總不能以後現代「作者已死」的觀點看他的作品，畢竟他是個作者）所以影片的敘事處處把不同時空的人和事並置，作為安氏的觀眾我們其實一點也不會陌生&#1229...如果 Spyros 令我們聯想到奧德修斯，那麼 Jacob （Bruno Ga...

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Alan's POV: 2008/01

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從來，拒絕／逃避是王家衛電影的一個重要主題，今天的他是否已經改變？我常常覺得在王家衛電影中作為敘事者或者敘事觀點的劇中人物的塑造，有部分是來自演員，有部分來自作者本人。所以，解讀王家衛電影的一個有效的切入點，就是看看敍事的角度，敍事角度就部份代表作者王家衛感情的投射。而敍事角度的介定，我們可根據敍事的形式或範圍、鏡頭的角度等作判斷，例如劇中人的旁白、限制在一個角色所知的敍事範圍（限制型敍事）、主觀鏡頭等。 Rachel Weisz 喚作 Sue Lynne，又難免讓我想起咱們的影后張曼玉。有幾場戲，特別在事發現場那段，我在想如果有張曼玉級數的演繹，應該會是如何精采。演員的表現不只是演員自己的責任，導演當然責無旁貸，我們中國人更稱呼他們「導演」。鑰匙的母題其實在《重慶森林》已經出現（甚至帶出重要的劇情），今次劇中人的解畫卻反而失去想像的空間。「幸好」這次沒有過度的旁白。還記得過去甚至如《重慶森林》這樣的傑作，儘管旁白中充滿佳句&#652...12301;（《明報周刊》第2043期）或者對於某些觀眾，王家衛過去的某些形式或主題也是一...2008 年 1 月 12 日.

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Alan's POV: 2007/04

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安哲羅普洛斯（Angelopoulos）曾說他這輩子只拍過一部電影，或者蔡明亮也是。不同時空裡的小康（這次還有兩個），每個主人公內心似乎也好像要說：「我不願孤枕獨眠（I Don't Want to Sleep Alone）。」向來不能接受蔡導的，這趟依然可以不用理會。像我欣賞蔡導的，經作前《天邊一朵雲》的點點失望，對於蔡導今次回到成長地馬來西亞，其實是帶著一點期望的。仍有畫外蔡導愛用的老歌，還有作為劇情聲的歌劇詠嘆調如《魔笛》的「夜后詠嘆調」（把老闆娘比喻為夜后？）、粵曲和印度寶萊塢 Shahrukh Khan 的電影插曲。簡略的敘事，著重的不是說故事而是情境氣氛的營造。儘管如此，劇本卻仍工整。流浪漢與女僕大牌檔邂逅相遇（留意陳湘琪望著李康生的目光），前呼流浪漢與茶室老闆娘兒子的相似，後應女僕與流浪漢的戀情。還有自由與牢籠、戀愛與寂寞、異性戀與同性戀等對比。我沒有閱讀電影簡介入場，初段還以為流浪漢與植物人乃同一人&#65...2007 年 4 月 10 日. 訂閱：文章 (Atom).

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Alan's POV: 2011/08

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生命樹（The Tree of Life）. 馬力克（Malick）的《生命樹》（The Tree of Life）一開始引述舊約聖經【約伯記】，「我立大地根基的時候，你在哪裡呢？ 12301;神反問約伯（Job）。【約伯記】敘述神回應撒旦的挑戰，讓約伯受盡苦難（失去財產、兒女、健康），以證明約伯的忠誠。一般把【約伯記】看作對苦難問題（The Problem of Evil）一個早期的回應。公元前三百年的伊壁鳩魯（Epicurus），到二十世紀的 Jack O'Brien （JOB？），也在問苦難問題——如果全善、全知、全能的神存在，世間為什麼有苦難？影片可以分為四部分（卻不是以放映的時間直線地劃分）——時間簡史、 Jack 的過去、 Jack 的現在、和永恆。為什麼是時間？因為生命以時間為載體，我們通過時間去了解生命。為什麼需要天地創生、生命演化那些如 BBC 或 Discovery Channel 的科普片段呢？因為個別...馬力克的時間簡史並非霍金（Hawking）式的時間簡史，更非科普片段。首先，我們應該以整部影片去理解一...哲學方面，馬力克曾在麻省理工（MIT...片初 Jack 的弟弟...

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Alan's POV: 2011/07

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似是有緣人（Certified Copy）. 基阿魯斯達米（Kiarostami）的電影《似是有緣人》（Certified Copy）一開始已直接提出這個問題：藝術複製品與原作有何區別？那是男主人公 James 的新書【Certified Copy】義大利文譯本在義大利的發佈會（這譯本也是個作者 certified 的 copy），他還（在發佈會）以我們是祖先 DNA 的複製、（後來在博物館）藝術原作也是真實事物的副本等去支持他主張：「Forget the Original, Just Get a Good Copy」. 很明顯，要解答藝術複製與原創的問題，我們先要弄清何謂藝術；而當我們搞清楚什麼是藝術，複製與原創的問題也許甚至給消解（而不是解答）了－複製品是否因為它是複製品而沒有藝術價值？但問什麼是藝術其實不是要求一個定義，我不相信有這樣一個定義，你是不能給藝術畫一條界線的，縱使在無限遠的界線，就如維根斯坦（Wittge...也許我們可以想想以下這些問題。電影敘事的邏輯是什麼？為什麼電影故事要跟據這樣的邏輯連貫起來？我們是否一定要了解作者的意圖？有些記錄片可以是藝術；而一般新聞片我們...

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