Brouwer's demonstration of his Bar Theorem gives rise to provocative questions regarding the proper explanation of the logical connectives within intuitionistic and constructivist frameworks, respectively, and, more generally, regarding the role of logic within intuitionism. It is the purpose of the present note to discuss a number of these issues, both from an historical, as well as a systematic point of view.

Even though Husserl and Brouwer have never discussed each other's work, ideas from Husserl have been used to justify Brouwer's intuitionistic logic. I claim that a Husserlian reading of Brouwer can also serve to justify the existence of choice sequences as objects of pure mathematics. An outline of such a reading is given, and some objections are discussed.

ABSTRACTIn reply to Linnebo, I defend my analysis of Tait's argument against the use of classical logic in set theory, and make some preliminary comments on Linnebo's new argument for the same conclusion. I then turn to Shapiro's discussion of intuitionistic analysis and of Smooth Infinitesimal Analysis. I contend that we can make sense of intuitionistic analysis, but only by attaching deviant meanings to the connectives. Whether anyone can make sense of SIA is open to doubt: doing so would involve (...) making sense of mathematical quantities whose relationship to zero and to one another is inherently indeterminate. (shrink)

I survey Brouwer’s weak counterexamples to classical theorems, with a view to discovering what useful mathematical work is done by weak counterexamples; whether they are rigorous mathematical proofs or just plausibility arguments; the role of Brouwer’s notion of the creative subject in them, and whether the creative subject is really necessary for them; what axioms for the creative subject are needed; what relation there is between these arguments and Brouwer’s theory of choice sequences. I refute one of Brouwer’s claims with (...) a weak counterexample of my own. I also examine Brouwer’s 1927 proof of the negative continuity theorem, which appears to be a weak counterexample reliant on both the creative subject and the concept of choice sequence; I argue that it provides a good justification for the weak continuity principle, but it is not a weak counterexample and it does not depend essentially on the creative subject. (shrink)

This thesis articulates the resonances between J. M. Coetzee's lifelong engagement with mathematics and his practice as a novelist, critic, and poet. Though the critical discourse surrounding Coetzee's literary work continues to flourish, and though the basic details of his background in mathematics are now widely acknowledged, his inheritance from that background has not yet been the subject of a comprehensive and mathematically- literate account. In providing such an account, I propose that these two strands of his intellectual trajectory not (...) only developed in parallel, but together engendered several of the characteristic qualities of his finest work. The structure of the thesis is essentially thematic, but is also broadly chronological. Chapter 1 focuses on Coetzee's poetry, charting the increasing involvement of mathematical concepts and methods in his practice and poetics between 1958 and 1979. Chapter 2 situates his master's thesis alongside archival materials from the early stages of his academic career, and thus traces the development of his philosophical interest in the migration of quantificatory metaphors into other conceptual domains. Concentrating on his doctoral thesis and a series of contemporaneous reviews, essays, and lecture notes, Chapter 3 details the calculated ambivalence with which he therein articulates, adopts, and challenges various statistical methods designed to disclose objective truth. Chapter 4 explores the thematisation of several mathematical concepts in Dusklands and In the Heart of the Country. Chapter Five considers Waiting for the Barbarians and Foe in the context provided by Coetzee's interest in the attempts of Isaac Newton to bridge the gap between natural language and the supposedly transparent language of mathematics. Finally, Chapter 6 locates in Elizabeth Costello and Diary of a Bad Year a cognitive approach to the use of mathematical concepts in ethics, politics, and aesthetics, and, by analogy, a central aspect of the challenge Coetzee's late fiction poses to the contemporary literary landscape. (shrink)

The work has two parts. The first part is about Peirce and his ideas about the continuum. There are considered the connection of his theory of continuity with his loic and his philosophy. In the second part Peirce's ideas are compared with models of todays logic and mathematics. There is considerd constructive mathematics, the logic of perception from Bell, Blau's Logic of reflection and a model of Myrvold. Then there is developed a new model.