Brouwer's criticism of mathematical proofs making essential use of the tertium non datur had a surprisingly late response in logical circles. Among the diverse reactions in the mid 1920s and early 1930s, it is possible to delimit a coherent body of opinions on these questions: (1) whether Brouwer's denial of the tertium non datur meant only the abandonment of this classical law or, beyond that, the affirmation of its negation; (2) whether one or both of these alternatives were logically inconsistent; (...) and (3) whether Brouwer's line of argument was forced to take resort to the very law it was designed to refute. The controversy centred around a series of articles by Marcel Barzin and Alfred Errera who fought against the intuitionistic critique, missed their victory because of conceptual confusions and fallacious reasoning, but emerged unconvinced from the debate in the late 1930s. The controversy is of interest to the historiography of formal logic since it stimulated the clarification not only of the concepts of formal validity, decidability, many-valued systems of logic and non-classical systems generally, but also of the distinction between object and meta-level, and between a formal system and its semantics. Most important, the debate, by putting pressure on the intuitionistic camp to make their ideas more precise, seems to have given the decisive motivation towards Heyting's answer to this demand by his axiomatization of intuitionistic logic in 1930. (shrink)

The article investigates from the book “Images despite everything”, by Georges Didi-Huberman (2020), four remaining photographs of Crematorium V in Auschwitz-Birkenau, taken in August 1944, by the Greek Jew Alberto Errera, a member of the Sonderkommando. It is noteworthy that it is his photographic gesture invested with the most intense emotional sense (pathos) that gives his images an indicial character that effectively operates as testimony (superstes) allowing one to imagine what is considered “unimaginable” by “Holocaust metaphysicians”. Reacting to the (...) thesis of the impossibility of representing the gas chambers, according to which any attempt to configure them would be a falsification of suffering by concession to aestheticization, the article states that it is necessary to know what is possible, whatever it is about the pain that took place there. It is also evident that it is the “zones of opacity” in Alberto Errera’s photos that, by conveying the pathos, activate the imagination and force the viewer’s thoughts. It is its “out of framing” that, mobilizing the gaze without stopping, from the icon to the index and from that to that, does not operate as an interdiction, but, on the contrary, it is what makes one see and know something more about what happened there. Finally, it can be concluded that Alberto Errera’s gesture transformed the “historical reality”, made of horror and upheaval, into a possibility of memory for the future, using only a remnant of celluloid. (shrink)

A unique selection of the most significant interviews given by Hannah Arendt, including the last she gave before her death in 1975. Some are published here in English for the first time. Arendt was one of the most important thinkers of her time, famous for her idea of "the banality of evil" which continues to provoke debate. This collection provides new and startling insight into Arendt's thoughts about Watergate and the nature of American politics, about totalitarianism and history, and her (...) own experiences as an emigre. Hannah Arendt: The Last Interview and Other Conversations is an extraordinary portrait of one of the twentieth century's boldest and most original thinkers. As well as Arendt's last interview with French journalist Roger Errera, the volume features an important interview from the early 60s with German journalist Gunter Gaus, in which the two discuss Arendt's childhood and her escape from Europe, and a conversation with acclaimed historian of the Nazi period, Joachim Fest, as well as other exchanges. These interviews show Arendt in vigorous intellectual form, taking up the issues of her day with energy and wit. She offers comments on the nature of American politics, on Watergate and the Pentagon Papers, on Israel; remembers her youth and her early experience of anti-Semitism, and then the swift rise of the Hitler; debates questions of state power and discusses her own processes of thinking and writing. Hers is an intelligence that never rests, that demands always of her interlocutors, and her readers, that they think critically. As she puts it in her last interview, just six months before her death at the age of 69, "there are no dangerous thoughts, for the simple reason that thinking itself is such a dangerous enterprise.". (shrink)