Wittgenstein and Aesthetics: Perspectives and Debates (Aporia)
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Wittgenstein has written a great number of remarks relevant to aesthetical issues: he has questioned the relation between aesthetics and psychology as well as the status of our norms of judgment; he has drawn philosophers' attention to such topics as aspect-seeing and aspect-dawning, and has brought insights into the nature of our aesthetic reactions. The examination of this wide range of topics is far from being completed, and the purpose of this book is to contribute to such completion. It gathers both papers discussing some of Wittgenstein's most provocative and intriguing statements on aesthetics, and papers bringing out their implications for art critic and art history, as well as their significance to epistemology and to the study of human mind.
is heterogeneous to their nature and that is simply applied to them. Indeed, Wittgen18 Frazer (1909), p. 163. Musil (1921), p. 139. 20 Valéry (1937), p. 12. 21 Darwin (1871), p. 85-96. 19 32 Wittgenstein and Aesthetics: Perspectives and Debates stein thought that Darwin was wrong because his theory does not give any account of the variety of species. The assumption according to which evolution finally produced a species able to understand all the processes that generated it is
that it has merely not yet been found. We believe we are dealing with a natural law a priori, whereas we are dealing with a norm of expression that we ourselves have fixed.”27 These sleeping partners can be assimilated to Frazer’s analogies, which are designed following a principle of resemblance but used as an argument a priori even though they are no more than a type of description. Criticizing them does not imply criticizing the fact that they hold an important role in the economy of discourse
the 60’s in France, this paradigm slowly lost its preeminence, and is substituted with a more cognitivist social-behavioristic model of treatment of the anxious diseases. P.-H. Castel sees no contradiction between Freud’s associationism and this new model. 8 See Allan Janik’s book of the same title, ch. 9, Santerus, Press, Sueden, 2006, p 205. Goethe was known to have assembled the remains of a sheep’s skull from which he could build a theory of the vertebrate. His (Freud) Explanation Does What
Investigations. 3. Primitive Language Games In the Investigations, Wittgenstein asks in § 37 on behalf of his interlocutor, “What is the relation between name and thing named?” “Well what is it?,” he responds. In other words, look and see. In examining the primitive scenarios and their permutations we begin to realize that in almost every case, the “what is named” drops out. Consider the shopkeeper game of § 1: Now think of the following use of language: I send someone shopping. I give him a slip
does not follow that a critic’s fiat suffices to turn a tropical hurricane into an art work; it may be necessary, as we have seen in considering the thingness of works, that certain sufficient conditions of size and inscribedness be observed. But once these conditions are fulfilled, a critic may say that a given thing is a masterpiece; but that does not mean he will be believed. Let us now look at the features of artistic inscription. Cuts In line with the law Object = Inscribed Act, an art work