While Cavell is well known for his reinterpretation of the later Wittgenstein, he has never really engaged himself with post-Investigations writings like On Certainty. This collection may, however, seem to undermine the profoundly anti-dogmatic reading of Wittgenstein that Cavell has developed. In addition to apparently arguing against what Cavell calls ‘the truth of skepticism’ – a phrase contested by other Wittgensteinians – On Certainty may seem to justify the rejection of whoever dares to question one’s basic presuppositions. According to On (...) Certainty, or so it seems, the only right response to someone with different certainties is a reproach like ‘Fool!’ or ‘Heretic!’. This article aims to show that On Certainty need not be taken to prove Cavell wrong. It explains that Wittgenstein, in line with the first two parts of The Claim of Reason, does not reject scepticism out of hand but rather questions the sceptic’s self-understanding. Using arguments from Part Three of The Claim, the article moreover argues that a confrontation with divergence calls for self-examination rather than self-righteousness. Precisely because Wittgenstein acknowledges ‘the groundlessness of our believing’ or, in Cavellian terms, ‘the truth of skepticism’, he is not the authoritarian thinker that some have taken him to be. (shrink)

In this article, I argue that by considering Ludwig Wittgenstein's methods, we can better understand and appreciate Jonas Mekas's diary films. Based on Wittgenstein's notion of “aesthetic puzzlement”, I identify the main confusions encountered by the viewer upon watching Mekas's films, such as: 1) fragmentation; 2) persistent repetition; and 3) the importance placed on the everyday. I discuss three films – Walden (1969), Lost Lost Lost (1976), and As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000) (...) – and demonstrate that the aesthetic puzzlements within them may be dissolved by looking at the format of Wittgenstein's Philosophical Investigations (1953). Mekas's lifelong interest in filming the most mundane and domestic scenes can be understood as a puzzlement in itself: why not just admire the ordinary whilst living in it? Wittgenstein's thought experiment in Culture and Value helps us understand the aesthetic puzzlement of Mekas's interest in filming, remembering and presenting an extensive array of everyday activities, and also explains why the viewer can find the most mundane and domestic activities in his films remarkable. Additionally, I discuss how Mekas's diary films may be regarded as coming close to Wittgenstein's aesthetic ideal of art as being able to represent “life itself”. I aim to show how Mekas's cinematic practice places extreme importance on ordinary acts and offers a mode of thinking which echoes Wittgenstein's own views on philosophy. I conclude with a discussion of “nomadism”, a notion that elucidates the peculiar form of the works of both Wittgenstein and Mekas. (shrink)

In this article, I endeavor to analyze Wittgenstein’s remarks on certain aspects of Freud’s theory in the hope to show that his criticism can be epistemologically fruitful to pinpoint some insurmountable theoretical difficulties in the metapsychological aspect of psychoanalysis, especially with regard to Freud’s insistent remarks that his deep psychology must be viewed as a scientific approach of psychic phenomena.