In his argument for the possibility of knowledge of spatial objects, in the Transcendental Deduction of the B-version of the Critique of Pure Reason, Kant makes a crucial distinction between space as “form of intuition” and space as “formal intuition.” The traditional interpretation regards the distinction between the two notions as reflecting a distinction between indeterminate space and determinations of space by the understanding, respectively. By contrast, a recent influential reading has argued that the two notions can be fused into (...) one and that space as such is first generated by the understanding through an act of synthesis of the imagination. Against this reading, this article argues that a key characteristic of space as a form of intuition is its nonconceptual unity, which defines the properties of space and is as such necessarily independent of determination by the understanding through the transcendental synthesis of the imagination. The conceptual unity that the understanding prescribes to the manifold in intuition, by means of the categories, defines the formal intuition. Furthermore, this article argues that it is the sui generis, nonconceptual unity of space, when takenas a unity for the understanding by means of conceptual determination, that first enables geometric knowledge and knowledge of spatially located particulars. (shrink)

In this article, I claim that the Antinomy of pure reason emerges as the result of synthetic activities that require succession. In this regard, I show that cosmological conflicts involve different kinds of representations: cosmological ideas, purely conceptual representations of the unconditioned and the product of non-temporal synthetic activities; and putative complete series of spatiotemporal conditions, which require temporal synthetic activities. As I show, purely conceptual representations cannot produce cosmological conflicts: The Antinomy requires the interaction of reason, understanding, and sensibility. (...) I also discuss the maxim and principle of pure reason, how they lead to the unconditioned, and how the cosmological syllogism produces the Antinomy. (shrink)

In the section of the Antinomy of pure Reason Kant presents three notions of infinity. By investigating these concepts of infinity, this paper highlights important ‘building blocks’ of the structure of the mathematical antinomies, such as the ability of reason of producing ascending and descending series, as well as the notions of given and givable series. These structural features are discussed in order to clarify Ernst Zermelo’s reading of Kant’s antinomy, according to which the latter is deeply rooted in the (...) tendency of the mind of producing “creative progress” and “inclusive closure”. The aim of this paper is to explain in which sense and why Kant’s treatment of the antinomies attracts the attention of Zermelo in the early 1900s and which aspects of his second axiomatic system have been inspired by Kant’s philosophy. Thus, by reading Kant’s antinomy ‘through Zermelo’s eyes’—with emphasis on the concept of regressive series in indefinitum and on that of regressive series ad infinitum – this paper identifies the echoes of Kant’s work in the making of the ZFC set theory. (shrink)