Ladislav Kvasz

The aim of the paper is to analyse the geometrical aspects of a series of modern paintings and to show the parallel between them and the development of modern geometry. It starts with El Greco, offering a geometrical explanation of his painting the figures in a prolonged manner. Further the analogy between the impressionist way of creating space and the geometrical idea of Cayley to use projective space as a basis for non-Euclidean geometry is reconstructed. Next the paper describes the parallel between the creation of space in the paintings of Cézanne and Picasso and the concept of space in algebraic topology. In conclusion the paper deals with the analogy between Kandinski's abstract paintings and the set-theoretical foundations of geometry

The aim of this paper is a philosophical generalisation of the results, which we obtained through the analysis of the development of synthetic geometry. I our papers Náčrt analytickej teórie subjektu and Topológia versus teória množín we proposed a method of analysis of the development of geometry based on Wittgensteinś Picture theory of meaning from the Tractatus. It turned out, that the concept of the form of language can be effectively used to characterise the changes, which occured in the course of development of geometry. In the present paper we would like to generalize our approach and outline a universal approach to epistemology, which we call formal epistemology

The book is a detailed and penetrating study of the relations between Bolzano’s philosophical views and his mathematical achievements. It opens with a Biographical sketch, written with a good understanding of the political situation in Central Europe at Bolzano’s times. The words of the Emperor Francis II: “I do not need scholars but obedient citizens” , and of an English visitor of Austria at those times: “These school-books are the most barren and stupid extracts which ever left the printing press.” express the problems of the intellectuals in this part of the world

The aim of the paper is to present a theoretical framework which would make it possible to embed the conflict between the natural and human sciences into a broader historical context. With the help of categories such as paradigmatic disciplines, mixed discipline of the paradigm, metaphorical realm of the paradigm, and elusive realm of the paradigm we describe the dynamics of changes in the classification of scientific disciplines which accompany a scientific revolution. Our approach is thus an alternative to T. S. Kuhn’s sociological theory of scientific revolutions. Instead by a social conflict between the proponents and opponents of the new paradigm we interpret the scientific revolution as a cognitive conflict between the mixed disciplines and the metaphorical realm of the old paradigm

Mathematics was considered by the members of the Vienna Circle an a priori discipline consisting of analytic propositions. The aim of the present paper is to draw attention to the experiential dimension of mathematical knowledge. Following the interpretation of physical knowledge as knowledge constituted by the use of instruments, I am trying to interpret also mathematical knowledge as knowledge based on instrumental experience. This interpretation opens a new perspective on the place of the logicist program in philosophy of mathematics. The aim of the present paper is to argue that mathematics is based on experience and that mathematical experience is instrumental. The difference between mathematics and physics is that in the case of mathematics the instruments are not measuring devices but tools of symbolic representation. In order to distinguish the mathematical experience from the physical one, I will call the instrumental experience in mathematics as symbolic experience. In analogy with the measuring devices of physics I will interpret the tools of symbolic representation as tools constituting symbolic experience.

The aim of this paper is to introduce Wittgenstein’s concept of the form of a language into geometry and to show how it can be used to achieve a better understanding of the development of geometry, from Desargues, Lobachevsky and Beltrami to Cayley, Klein and Poincaré. Thus this essay can be seen as an attempt to rehabilitate the Picture Theory of Meaning, from the Tractatus. Its basic idea is to use Picture Theory to understand the pictures of geometry. I will try to show, that the historical evolution of geometry can be interpreted as the development of the form of its language. This confrontation of the Picture Theory with history of geometry sheds new light also on the ideas of Wittgenstein.