The task of this paper is to exhibit Wittgenstein’s method of perspicuous presentation as aiming at a distinctive kind of self-knowledge. Three influential readings of Wittgenstein’s concept of perspicuous presentation – Hacker’s, Baker’s and Sluga’s – are examined. All of them present what Wittgenstein calls the “unsurveyablity of our grammar” as a result of the “complexity” of our language. Contrary to this, a fundamental difference between matter-of-factual complexity and the unsurveyability of grammar is pointed out. What perspicuous presentations are designed (...) to deal with, isn’t, accordingly, occasioned by the complexity of our language but by an unnoticed assimilation of our own activities as speaking beings to matter-of-factual affairs. In response to this, perspicuous presentations help us to fully appropriate our activities as speakers in virtue of achieving a transparent understanding of the use of “our words”. It thus provides us with a distinctive kind of grammatical self-knowledge. (shrink)

The concept of übersichtliche Darstellung is of fundamental significance for Wittgenstein . Hacker translates übersichtliche Darstellung as ‘surveyable representation’ and equates it with the tabulation of grammar. He asks what surveyability means, whether examples can be found in Wittgenstein’s work, and why this method characterizes the form of account he gives. Ultimately, however, Hacker is unable to answer these questions and he attributes this failure to Wittgenstein. This paper argues that it is Hacker’s interpretation that fails, and presents an alternate (...) understanding of übersichtliche Darstellung ; one that enables us to answer Hacker’s questions in a manner consistent with Wittgenstein’s philosophical practices. Normal 0 false false false EN-US X-NONE X-NONE. (shrink)

A "concept" in the sense favoured by Wittgenstein is a paradigm for a transition between parts of a notational system. A concept-determining sentence such as "There is no reddish green" registers the absence of such a transition. This suggests a plausible account of what is perceived in an experiment that was first designed by Crane and Piantanida, who claim to have induced perceptions of reddish green. I shall propose a redescription of the relevant phenomena, invoking only ordinary colour concepts. This (...) redescription is not ruled out by anything the experimenters say. It accounts for certain peculiarities in both their descriptions and their subjects', and suggests that instead of discovering forbidden colours the experimenters introduced a new use of "-ish". Still, there is a point in speaking of "reddish green" in their context, which can be motivated by invoking what Wittgenstein calls a "physiognomy". (shrink)

This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...) attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich. (shrink)

O objetivo deste artigo é mostrar que o conceito de imaginação, tal como é concebido pelo mentalismo filosófico ou psicológico, é uma ilusão gramatical que pode ser desfeita pelo regresso ao "solo áspero" da linguagem ordinária.This paper proposes to demonstrate that the concept of imagination, as it is conceived by philosophical or psychological mentalist doctrines, is a grammatical illusion, which can be solved by means of a movement back to the "rough ground" of ordinary language.