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Wednesday, May 24, 2023

San Francisco, California

 


Pythagorean theorem to the basalt blocks in Nan Modal to Jenga adds to the Cantore arithmetic for the pyramid in Egypt as Devils Tower introduces the power in the solution of infinity at a finite threshold.

Vaillancourt Fountain

From Wikipedia, the free encyclopedia
Vaillancourt Fountain
A series of angular, jumbled, concrete pieces, with water running through them, set in a pool.
ArtistArmand Vaillancourt
Completion dateApril 21, 1971
TypePrecast concrete
Dimensions12 m (40 ft)
LocationJustin Herman PlazaSan Francisco, California, United States

Vaillancourt Fountain, sometimes called Quebec libre!, is a large fountain in Embarcadero Plaza in San Francisco, designed by the Québécois artist Armand Vaillancourt in 1971. It is about 40 feet (12 m) high and is constructed out of precast concrete square tubes. Long considered controversial because of its stark, modernist appearance, there have been several unsuccessful proposals to demolish the fountain over the years. It was the site of a free concert by U2 in 1987, when lead singer Bono spray painted graffition the fountain and was both praised and criticized for the action.

Location[edit]

Vaillancourt Fountain, Justin Herman Plaza

The fountain is in a highly visible spot on the downtown San Francisco waterfront, in Justin Herman Plaza, where Market Street meets The Embarcadero.[1] The Hyatt Regency Hotel is at the edge of the plaza, adjacent to the other four highrise towers of the Embarcadero Center. Across The Embarcadero is the Ferry Building, and the eastern end of the California Street cable car line is on the other side of the Hyatt Regency Hotel.

Aerial photo of Vaillancourt Fountain
Vaillancourt Fountain and the Embarcadero Freeway in 1988

When Vaillancourt designed the fountain, the elevated Embarcadero Freeway or Interstate 480, was still in existence along the Embarcadero. The fountain was designed with the freeway environment in mind, but it was built to bring people to an expansive public space, as San Francisco Chroniclearchitecture critic John King calls it "an act of defiant distraction until the freeway came down in 1991".[2][3]

Design and construction[edit]

Vaillancourt Fountain was a product of the redevelopment of San Francisco that took place in the 1950s and 1960s.[4] The Transamerica Pyramid was constructed from 1969-1972.  BART was also being constructed; the Embarcadero Station would eventually open in 1976, three years after the other stations along Market.

Justin Herman, for whom the plaza was named, was a leading figure in this process and the executive director of the redevelopment agency in charge.[5] The plaza was one of several plazas proposed in the 1962 redevelopment analysis What to do About Market Street,[6] including Hallidie Plaza and United Nations Plaza, which were also completed in the mid-1970s. That 1962 analysis was written by planners Livingston and Blayney, landscape architect Lawrence Halprin, architects Rockrise & Watson, and Larry Smith Co. real estate consultants.

Plans for Embarcadero Plaza were drawn up by Mario CiampiJohn Savage Bolles, and Halprin. In August 1966 a committee consisting of those three, plus sculptor and Art Commission member Sally Hellyer, invited six sculptors to submit models for a loosely defined "monumental abstract sculpture".[7] By December five had responded: Jacques Overhoff, Reuben NakianAlicia Penalba, James Melchert, and Vaillancourt. The committee chose 38-year-old Vaillancourt but his second model, meant to show development of the design, did not even resemble the first model.[7] By November 1968 Hellyer had been replaced by Ruth Asawa, who rejected the design, saying in part, "I for one, am not willing to remain silent while we play the old game of the emperor's new clothes on the unsuspecting people of this city."[7][8] For his part, Halprin was quoted as saying that if the fountain didn't prove to be among the "great works of civic art ... I am going to slit my throat".[9]

Vaillancourt Fountain, Justin Herman Plaza SF

The fountain is about 40 feet (12 m) high, weighs approximately 700 short tons (640 t), and is constructed out of precast concrete square tubes. The fountain is positioned in a pool shaped like an irregular pentagon, and is designed to pump up to 30,000 US gallons (110,000 L) of water per minute.[4]

The fountain looks unfinished, like concrete that has not been completely mixed. Up close, it is very rough and textured. There are several square pillars or cubed tubes that form a semi circle inside a pentagon shaped pool. The natural colored pillars jut out and crisscross from the corner of the plaza "like the tentacles of some immense geometrical octopus. ... breaking open."[10] There are two bridges, or walk ways (with stairs), that allow the public to stand between the tubes and have a view overlooking the plaza and city. A series of platforms at pool level permit pedestrian entry into the fountain and behind the falling water.[11] The fountain and plaza are easily accessible to the public at all times and in all conditions, rain or shine. The fountain's budget was US $310,000. It was dedicated on April 22, 1971.[4] The Los Angeles Times reported that its cost was US $607,800.[12]

History[edit]

Armand Vaillancourt in 2009

Just before the dedication, the slogan "Quebec Libre" (a reference to the Quebec sovereignty movement) was painted on the fountain at night, and the graffiti was erased.[8] During the dedication, attended by Thomas Hoving, director of New York's Metropolitan Museum of Art, a rock band played, and Armand Vaillancourt himself painted "Quebec Libre" on the fountain in as many places as he could reach.[5][8] A redevelopment agency employee started to paint over the slogans during the ceremony, but Herman stopped him, saying it could be done later.[5]When asked about why he defaced his own fountain with graffiti he responded, "No, no. It's a joy to make a free statement. This fountain is dedicated to all freedom. Free Quebec! Free East Pakistan! Free Viet Nam! Free the whole world!"[8] Vaillancourt said his actions were "a powerful performance" intended to illustrate the notion of power to the people.[5] "Quebec Libre" has been an alternate name for the fountain since.[13]

Flamin' Groovies performed there, on the 19th September, 1979, and the concert was broadcast on KSAN (FM).

1987 U2 concert[edit]

U2 lead singer Bono

On the first leg of The Joshua Tree Tour by the rock band U2 in 1987, they performed concerts at the Cow Palace just south of San Francisco on April 24 and April 25, 1987. On the third leg of the tour, concerts had been announced for November 14 and 15, 1987, across the San Francisco Bay, at the Oakland Coliseum.

On the morning of November 11, 1987, local radio stations announced that U2 would hold a free-admission concert that day in Justin Herman Plaza, with the stage set up in front of the Vaillancourt Fountain. Within a few hours, a crowd estimated at 20,000 people gathered in the plaza.[14] The concert was jokingly called "Save the Yuppies", in reference to the 1987 stock market crash that had taken place three weeks earlier.[15]

The band closed their nine-song performance with their hit "Pride (In the Name of Love)".[16] During the instrumental portion in the middle of the song, Bono, lead singer of the band, climbed onto the sculpture and spray painted graffiti on it, reading "Rock N Roll Stops The Traffic".[16] Mayor Dianne Feinstein, who had been waging a citywide campaign against graffiti that had resulted in over 300 citations during the year, was angry and criticized Bono for defacing a San Francisco landmark.[17][18][19] She said, "I am disappointed that a rock star who is supposed to be a role model for young people chose to vandalize the work of another artist. The unfortunate incident marred an otherwise wonderful rock concert."[20]Bono was issued a citation for misdemeanor malicious mischief.[18] U2 manager Paul McGuinness said, "This is clearly not an act of vandalism. This act was clearly in the spirit of the artwork itself."[18] The numerous callers to Ronn Owens' radio talk show on KGO-AM were evenly split, with younger listeners defending the singer's action and older ones not.[17] Bono soon apologized,[17] saying "I really do regret it. It was dumb."[21] The singer explained that he thought that he was honoring the artist's work and that the artist had agreed, but later Bono realized that the city owned the fountain.[21] The group covered the cost of removal of the graffiti.[22]

Armand Vaillancourt flew from Quebec to California after the incident, and spoke in favor of Bono's actions at U2's Oakland performance several days later.[14] Vaillancourt said, "Good for him. I want to shake his hand. People get excited about such a little thing."[19] The sculptor spray-painted a slogan of his own on the band's stage, "Stop the Madness".[18]

The episode received further attention when it was featured in U2's 1988 documentary film Rattle and Hum.[16] There, footage of it was shown over, and interspersed with, the band's opening number, "All Along the Watchtower", a song by Bob Dylan that had been a big hit for Jimi Hendrix.[23] This has led some people to misidentify the song being played when the spray painting occurred.[14] In any case, the fountain and plaza ended up on one U2 fan site's list of recommended group-related places in the U.S. to visit.[23]

Demolition proposals[edit]

View of Justin Herman Plaza, Vaillancourt Fountain, and The Embarcadero in 2010 following the demolition of the Embarcadero Freeway

Following the 1989 Loma Prieta earthquake, the elevated Embarcadero Freeway was so badly damaged that it was torn down, and was replaced by a boulevard at ground level. An architect hired by the city also proposed demolition of the fountain,[24] but no decision was made.

In 2004, San Francisco Supervisor Aaron Peskin renewed the call to demolish the fountain.[25] The water supply to the fountain had been turned off for several years, because of California's energy crisis of those years.[25] Armand Vaillancourt immediately pledged that he would "fight like a devil to preserve that work".[1] Debra Lahane, a member of the San Francisco Arts Commission, said that "it succeeds as a work of art if it provokes dialogue and discussion. Art that engages the public has had a measure of success."[1] Within a few months, the water was flowing again, and plans to tear down the fountain were abandoned.[26][27]

On and off[edit]

Vaillancourt Fountain in operation with interior walkway (2011)

At the fountain's opening in 1971, both the water flow and human participation were considered integral to the work. Alfred Frankenstein, writing for the San Francisco Chronicle, noted "the heart of the idea is the unique one of public entry into and intimate exploration of the fountain's innards; in this it is unique and decidedly a success. It is not a great work of sculpture, which is like observing that an automobile is not much of a success as a horse."[11]

The water was turned off at the fountain from 2001 until 2004, reopening on August 2, 2004. San Francisco estimated the cost of electricity was approximately US $200,000 per year to operate the fountain.[27] Peskin negotiated a public-private partnership where the city would pay for the operating costs (at a revised estimate of US $76,000 per year) and Boston Properties would pay for maintenance (estimated at US $20,000 per year).[28] The fountain was shut off again during the winter of 2007–08 starting in November 2007 so that skaters at the Justin Herman Plaza ice rink would not be splashed. It reopened on January 21, 2008.[29]

In reaction to the 2011–17 California drought, all of San Francisco's public fountains were shut off in order to conserve water. Vaillancourt Fountain was turned off in 2014 for the drought, but after that drought ended, the Recreation and Park department cited lack of funds to make repairs to the Vaillancourt Fountain as the reason it had not been reactivated.[30] The estimated cost of rehabilitation to allow water to flow again was approximately US $500,000.[31]

Charles Desmarais, the current art critic of the San Francisco Chronicle echoed Frankenstein's comments from 1971, calling for the water to return in an August 2017 opinion article:

[T]he water is as essential to [Vaillancourt Fountain] as it was superfluous to [the nearby Mechanics Monument]. Vaillancourt is a sprawling, lifeless skeleton in its current dry state, with a chain-link fence blocking the two sets of stairs that once allowed people to peer down into the roiling maelstrom below. The chain of island-like steppingstones that made visitors feel they were walking on water is now a gantlet of precarious pedestals several feet above a rock-hard floor. The site is littered with trash. ... 
 It makes little sense to spend money to add even a single new object to our civic art collection if we allow the virtual eradication, through neglect and obliviousness to its original intention, of our city's most visible public work. We are the heirs to a memorial that, encountered as it was designed to be, animates a moment in art and history that cannot be re-created. If our city agencies can understand that, their priorities should be as clear as the waters of a healthy Vaillancourt Fountain.

— Charles Desmarais, Vaillancourt Fountain deserves respect — and water August 5, 2017[11]

On August 15, 2017, water was restored to the fountain as a test run,[32] with the intention that it will stay on until November, when the ice rink reopens.[3]The water has been dyed with the 'Blue Lagoon' aquatic dye to control the growth of algae and bacteria. The nontoxic aquatic dye attenuates the penetration of light into the water, and tints the water blue.[33][34]

Panoramic photo taken from inside Vaillancourt Fountain
Vaillancourt Fountain from inside in 2017, with water running again

Critical reaction[edit]

The fountain has been considered controversial since its construction, and criticism of it has continued over the years.[1][35][36][26][37] Hoving, in his dedication speech, said of the fountain had some of the daring of Baroque sculpture and that "A work of art must be born in controversy."[5] Herman himself said it was "one of the greatest artistic achievements in North America."[5]

Detail photo of Vaillancourt Fountain
Vaillancourt Fountain in operation (2011)

At the time of its dedication, the San Francisco chapter of the National Safety Council said that the fountain "may be a safety hazard".[12] Opponents of the work handed out leaflets at the dedication of the fountain describing it as a "loathsome monstrosity", a "howling obscenity", an "obscene practical joke", "idiotic rubble", and a "pestiferous eyesore".[5][36] Art critic Alfred Frankenstein of the San Francisco Chronicle responded that "its very outrageousness and extravagance are part of its challenge" and therefore, it "can't be all bad."[35] He added that the fountain was intended to be participated in rather than just observed.[5] An early comment by architecture critic Allan Temko, often repeated over the years, describes "technological excrescences" that had been "deposited by a giant concrete dog with square intestines".[35] Another pithy remark that gained press attention, from critic Lloyd Skinner, was that the fountain was "Stonehenge, unhinged, with plumbing troubles".[5]

Artists have been critical of the work as well. Sculptor Benny Bufano called it "a jumble of nothing", artist Willard Cox likened it to "dynamited debris", and sculptor Humphrey Diaquist said it had been created by "a figure of deranged talent".[5] Ruth Asawa noted in 1989 that "In the attempt to provide a disguise and diversion from the freeway, the goal of the fountain as a work of art was lost."[3]

The fountain has been called the "least revered modernist work of art" in San Francisco.[13] Due to its size, it has been said that it "dominates the landscape" of the north side of Justin Herman Plaza.[38] It has also been said that the design intent was "to mock and mirror the clumsy, double-decked roadway",[24] referring to the elevated Embarcadero Freeway which separated the fountain from the waterfront at the time of construction.

Charles Birnbaum, noted Halprin expert, stated the architect "always wanted people to interact with his water features" and that Justin Herman Plaza "was intended as a total environment, a space animated by people as well as water", so the fountain was designed to attract the public to an area otherwise cut off from the waterfront by the Embarcadero Freeway.[3]

Gallery[edit]

Finite set

From Wikipedia, the free encyclopedia

In mathematics, particularly set theory, a finite set is a set that has a finite number of elements. Informally, a finite set is a set which one could in principle count and finish counting. For example,

is a finite set with five elements. The number of elements of a finite set is a natural number (possibly zero) and is called the cardinality (or the cardinal number) of the set. A set that is not a finite set is called an infinite set. For example, the set of all positive integers is infinite:

Finite sets are particularly important in combinatorics, the mathematical study of counting. Many arguments involving finite sets rely on the pigeonhole principle, which states that there cannot exist an injective function from a larger finite set to a smaller finite set.

Definition and terminology[edit]

Formally, a set S is called finite if there exists a bijection

for some natural number n. The number n is the set's cardinality, denoted as |S|. The empty set  or  is considered finite, with cardinality zero.[1][2][3][4]

If a set is finite, its elements may be written — in many ways — in a sequence:

In combinatorics, a finite set with n elements is sometimes called an n-set and a subset with k elements is called a k-subset. For example, the set  is a 3-set – a finite set with three elements – and  is a 2-subset of it.

(Those familiar with the definition of the natural numbers themselves as conventional in set theory, the so-called von Neumann construction, may prefer to use the existence of the bijection , which is equivalent.)

Basic properties[edit]

Any proper subset of a finite set S is finite and has fewer elements than S itself. As a consequence, there cannot exist a bijection between a finite set Sand a proper subset of S. Any set with this property is called Dedekind-finite. Using the standard ZFC axioms for set theory, every Dedekind-finite set is also finite, but this implication cannot be proved in ZF (Zermelo–Fraenkel axioms without the axiom of choice) alone. The axiom of countable choice, a weak version of the axiom of choice, is sufficient to prove this equivalence.

Any injective function between two finite sets of the same cardinality is also a surjective function (a surjection). Similarly, any surjection between two finite sets of the same cardinality is also an injection.

The union of two finite sets is finite, with

In fact, by the inclusion–exclusion principle:

More generally, the union of any finite number of finite sets is finite. The Cartesian product of finite sets is also finite, with:

Similarly, the Cartesian product of finitely many finite sets is finite. A finite set with n elements has 2n distinct subsets. That is, the power set P(S) of a finite set S is finite, with cardinality 2|S|.

Any subset of a finite set is finite. The set of values of a function when applied to elements of a finite set is finite.

All finite sets are countable, but not all countable sets are finite. (Some authors, however, use "countable" to mean "countably infinite", so do not consider finite sets to be countable.)

The free semilattice over a finite set is the set of its non-empty subsets, with the join operation being given by set union.

Necessary and sufficient conditions for finiteness[edit]

In Zermelo–Fraenkel set theory without the axiom of choice (ZF), the following conditions are all equivalent:[5]

  1. S is a finite set. That is, S can be placed into a one-to-one correspondence with the set of those natural numbers less than some specific natural number.
  2. (Kazimierz KuratowskiS has all properties which can be proved by mathematical induction beginning with the empty set and adding one new element at a time. (See below for the set-theoretical formulation of Kuratowski finiteness.)
  3. (Paul StäckelS can be given a total ordering which is well-ordered both forwards and backwards. That is, every non-empty subset of S has both a least and a greatest element in the subset.
  4. Every one-to-one function from P(P(S)) into itself is onto. That is, the powerset of the powerset of S is Dedekind-finite (see below).[6]
  5. Every surjective function from P(P(S)) onto itself is one-to-one.
  6. (Alfred Tarski) Every non-empty family of subsets of S has a minimal element with respect to inclusion.[7] (Equivalently, every non-empty family of subsets of S has a maximal element with respect to inclusion.)
  7. S can be well-ordered and any two well-orderings on it are order isomorphic. In other words, the well-orderings on S have exactly one order type.

If the axiom of choice is also assumed (the axiom of countable choice is sufficient[8][citation needed]), then the following conditions are all equivalent:

  1. S is a finite set.
  2. (Richard Dedekind) Every one-to-one function from S into itself is onto.
  3. Every surjective function from S onto itself is one-to-one.
  4. S is empty or every partial ordering of S contains a maximal element.

Foundational issues[edit]

Georg Cantor initiated his theory of sets in order to provide a mathematical treatment of infinite sets. Thus the distinction between the finite and the infinite lies at the core of set theory. Certain foundationalists, the strict finitists, reject the existence of infinite sets and thus recommend a mathematics based solely on finite sets. Mainstream mathematicians consider strict finitism too confining, but acknowledge its relative consistency: the universe of hereditarily finite sets constitutes a model of Zermelo–Fraenkel set theory with the axiom of infinity replaced by its negation.

Even for the majority of mathematicians that embrace infinite sets, in certain important contexts, the formal distinction between the finite and the infinite can remain a delicate matter. The difficulty stems from Gödel's incompleteness theorems. One can interpret the theory of hereditarily finite sets within Peano arithmetic (and certainly also vice versa), so the incompleteness of the theory of Peano arithmetic implies that of the theory of hereditarily finite sets. In particular, there exists a plethora of so-called non-standard models of both theories. A seeming paradox is that there are non-standard models of the theory of hereditarily finite sets which contain infinite sets, but these infinite sets look finite from within the model. (This can happen when the model lacks the sets or functions necessary to witness the infinitude of these sets.) On account of the incompleteness theorems, no first-order predicate, nor even any recursive scheme of first-order predicates, can characterize the standard part of all such models. So, at least from the point of view of first-order logic, one can only hope to describe finiteness approximately.

More generally, informal notions like set, and particularly finite set, may receive interpretations across a range of formal systems varying in their axiomatics and logical apparatus. The best known axiomatic set theories include Zermelo-Fraenkel set theory (ZF), Zermelo-Fraenkel set theory with the Axiom of Choice (ZFC), Von Neumann–Bernays–Gödel set theory (NBG), Non-well-founded set theoryBertrand Russell's Type theory and all the theories of their various models. One may also choose among classical first-order logic, various higher-order logics and intuitionistic logic.

formalist might see the meaning[citation needed] of set varying from system to system. Some kinds of Platonists might view particular formal systems as approximating an underlying reality.

Set-theoretic definitions of finiteness[edit]

In contexts where the notion of natural number sits logically prior to any notion of set, one can define a set S as finite if S admits a bijection to some set of natural numbers of the form . Mathematicians more typically choose to ground notions of number in set theory, for example they might model natural numbers by the order types of finite well-ordered sets. Such an approach requires a structural definition of finiteness that does not depend on natural numbers.

Various properties that single out the finite sets among all sets in the theory ZFC turn out logically inequivalent in weaker systems such as ZF or intuitionistic set theories. Two definitions feature prominently in the literature, one due to Richard Dedekind, the other to Kazimierz Kuratowski. (Kuratowski's is the definition used above.)

A set S is called Dedekind infinite if there exists an injective, non-surjective function . Such a function exhibits a bijection between S and a proper subset of S, namely the image of f. Given a Dedekind infinite set S, a function f, and an element x that is not in the image of f, we can form an infinite sequence of distinct elements of S, namely . Conversely, given a sequence in S consisting of distinct elements , we can define a function f such that on elements in the sequence  and f behaves like the identity function otherwise. Thus Dedekind infinite sets contain subsets that correspond bijectively with the natural numbers. Dedekind finite naturally means that every injective self-map is also surjective.

Kuratowski finiteness is defined as follows. Given any set S, the binary operation of union endows the powerset P(S) with the structure of a semilattice. Writing K(S) for the sub-semilattice generated by the empty set and the singletons, call set S Kuratowski finite if S itself belongs to K(S).[9] Intuitively, K(S) consists of the finite subsets of S. Crucially, one does not need induction, recursion or a definition of natural numbers to define generated by since one may obtain K(S) simply by taking the intersection of all sub-semilattices containing the empty set and the singletons.

Readers unfamiliar with semilattices and other notions of abstract algebra may prefer an entirely elementary formulation. Kuratowski finite means S lies in the set K(S), constructed as follows. Write M for the set of all subsets X of P(S) such that:

  • X contains the empty set;
  • For every set T in P(S), if X contains T then X also contains the union of T with any singleton.

Then K(S) may be defined as the intersection of M.

In ZF, Kuratowski finite implies Dedekind finite, but not vice versa. In the parlance of a popular pedagogical formulation, when the axiom of choice fails badly, one may have an infinite family of socks with no way to choose one sock from more than finitely many of the pairs. That would make the set of such socks Dedekind finite: there can be no infinite sequence of socks, because such a sequence would allow a choice of one sock for infinitely many pairs by choosing the first sock in the sequence. However, Kuratowski finiteness would fail for the same set of socks.

Other concepts of finiteness[edit]

In ZF set theory without the axiom of choice, the following concepts of finiteness for a set S are distinct. They are arranged in strictly decreasing order of strength, i.e. if a set S meets a criterion in the list then it meets all of the following criteria. In the absence of the axiom of choice the reverse implications are all unprovable, but if the axiom of choice is assumed then all of these concepts are equivalent.[10] (Note that none of these definitions need the set of finite ordinal numbers to be defined first; they are all pure "set-theoretic" definitions in terms of the equality and membership relations, not involving ω.)

  • I-finite. Every non-empty set of subsets of S has a ⊆-maximal element. (This is equivalent to requiring the existence of a ⊆-minimal element. It is also equivalent to the standard numerical concept of finiteness.)
  • Ia-finite. For every partition of S into two sets, at least one of the two sets is I-finite. (A set with this property which is not I-finite is called an amorphous set.[11])
  • II-finite. Every non-empty ⊆-monotone set of subsets of S has a ⊆-maximal element.
  • III-finite. The power set P(S) is Dedekind finite.
  • IV-finiteS is Dedekind finite.
  • V-finite. ∣S∣ = 0 or 2 ⋅ ∣S∣ > ∣S|.
  • VI-finite. ∣S∣ = 0 or ∣S∣ = 1 or ∣S2 > ∣S∣.
  • VII-finiteS is I-finite or not well-orderable.

The forward implications (from strong to weak) are theorems within ZF. Counter-examples to the reverse implications (from weak to strong) in ZF with urelements are found using model theory.[12]

Most of these finiteness definitions and their names are attributed to Tarski 1954 by Howard & Rubin 1998, p. 278. However, definitions I, II, III, IV and V were presented in Tarski 1924, pp. 49, 93, together with proofs (or references to proofs) for the forward implications. At that time, model theory was not sufficiently advanced to find the counter-examples.

Each of the properties I-finite thru IV-finite is a notion of smallness in the sense that any subset of a set with such a property will also have the property. This is not true for V-finite thru VII-finite because they may have countably infinite subsets.

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