I defend the view that aspect-perception – seeing as a duck, or a face as courageous – typically involves concept-application. Seemingly obvious, this is contested by Avner Baz: ‘aspects may not aptly be identified with, or in terms of, empirical concepts […]’ – In opposition, I claim that they may. Indeed, in many cases there is no other way to identify aspects.I review the development in Baz’s view, from his early criticism of Stephen Mulhall, to his recent recruitment of the (...) discussion about aspects to criticize John McDowell’s conceptualism, and his claim: ‘the dawning of Wittgensteinian aspects reveals our power to perceive unity and sense that are not aptly thought of as conceptual’.I accept many of Baz’s claims against Mulhall and McDowell. However, his arguments go too far. Aspect-perception, I argue, typically involves a special kind of application of concepts. Denying that is denying much of what is important and of interest in the phenomena of aspect. The world revealed in aspect-perception is not the conceptualized world of science; but it is also not the pre-conceptualized ‘phenomenal’ world which, according to Baz, we normally have in perception, and which he wants to bring into view. (shrink)

The purpose of this research is to show the relevance of the notion of 'skepticism' for the philosophy of art. From Modernism on, art is plagued by a lack of confidence in the traditional conventions and by an instability of the criteria governing the membership of an object to the category of 'art'. The notion of 'skepticism' is linked to the concept of 'expression': if art faces a form of skepticism, then the emphasis on the personal expression of artists and (...) audiences leads to a solution to the skeptical problem. The dissertation is divided into two parts: The first part, entitled 'Cavell, philosophy and skepticism', is a long Overture. With constant reference to the philosophies of Wittgenstein and Cavell, all the main themes of the dissertation are introduced: modernity and tradition, style and method, skepticism and ordinary, skepticism towards other minds (skepticism and expression). The second part, entitled 'Philosophy of Art and Modernism', isolates a line of thought from the writings of Tolstoy, Wittgenstein and Cavell. The three thinkers apply to art the concepts discussed in the previous part. Tolstoy, Wittgenstein and Cavell are linked by an awareness of a rupture in the relationship between contemporary art and tradition - a fracture that will be easy to recognize as skepticism in the art - and by the discovery of a similar solution. In particular, the notion of 'expression' will solve the skeptical problem. The first part is preparatory to the second because it contains all the themes and the concepts to be applied to art. The second part is analogue to the first: skepticism in the art, in fact, has a profound analogy with skepticism towards other minds. This analogy is made explicit in the conclusion, with a reference to attempts to define art. (shrink)

In Cavell (1994), the ability to follow and produce Austinian examples of ordinary language use is compared with the faculty of perfect pitch. Exploring this comparison, I clarify a number of central and interrelated aspects of Cavell's philosophy: (1) his way of understanding Wittgenstein's vision of language, and in particular his claim that this vision is "terrifying," (2) the import of Wittgenstein's vision for Cavell's conception of the method of ordinary language philosophy, (3) Cavell's dissatisfaction with Austin, and in particular (...) his claim that Austin is not clear about the nature and possible achievements of his own philosophical procedures, and (4) Cavell's notion that the temptation of skepticism is perennial and incurable. Cavell's reading of Wittgenstein is related to that of John McDowell. Like McDowell, Cavell takes Wittgenstein to be saying that the traditional attempt to justify our practices from an external standpoint is misguided, since such detachment involves losing sight of those conceptual and perceptual capacities in terms of which a practice is understood by its engaged participants. Unlike McDowell, however, Cavell consistently rejects the idea that philosophical clearsightedness can or should free us from that fear of groundlessness which motivates the traditional search for external justification. (shrink)

Rationalism in political philosophy is the view that politics should be governed by moral principles and that those principles can and should be justified independently of the situations and circumstances that make up political reality. This traditional view of political philosophy implies that the meaning of right political action is determined by moral principles the rational authority of which derives from abstract philosophical reasoning, not from the situations and circumstances that are the substance of political reality. In this essay I (...) argue that rationalist moralities must presuppose the understanding of particular situations and circumstances for their meaningful and correct interpretation. This means, I argue, that the rightness of political judgement and action is immanent in particular situations, not in abstract moralities. And this, I argue, suggests a shift from the traditional view of political society as the embodiment of abstract principles, towards a view of political society as the embodiment of the activity of situational judgement. A society worth hoping for, then, is one in which we can live in the light of our understanding of the situations and circumstances that are the substance of everyday life, rather than in the shadow of abstract moralities. Such a society would be sensitive to the particularities and complexities of political reality, but at the same time it does not succumb to moral relativism and skepticism. (shrink)

Paul Roth claims that “interpretivists” in the philosophy of social sciences like Charles Taylor assume a positivist caricature of natural science to motivate their arguments against naturalism in the social sciences. Roth argues that not only is adopting the view of meaning relied upon by those he sometimes refers to as the “friends of understanding” unmotivated once the critique of positivism has been taken on board, he argues further that Quine has shown why this “meaning realism” is unavailable in principle. (...) Roth bolsters his use of Quine against interpretivists by referring to Kripke’s reading of Wittgenstein on rule-following. But McDowell has shown how Kripke overlooks an alternative reading of those remarks, which provides “interpretivists” with arguments against mainstream naturalism and which makes no use of anything resembling “meaning realism.” This opening for interpretivists is actually already present in Roth’s discussion of the distinction between “thin” and “thick” description. This suggests how mainstream naturalism itself might be rethought to accommodate interpretivism. (shrink)

Gordon Baker in his last decade published a series of papers (now collected inBaker 2004), which are revolutionary in their proposals for understanding of later Wittgenstein. Taking our lead from the first of those papers, on “perspicuous presentations,” we offer new criticisms of ‘elucidatory’ readers of later Wittgenstein, such as Peter Hacker: we argue that their readings fail to connect with the radically therapeutic intent of the ‘perspicuous presentation’ concept, as an achievement‐term, rather than a kind of ‘objective’ mapping of (...) a ‘conceptual landscape.’Baker's Wittgenstein, far from being a ‘language policeman’ of the kind that often fails to influence mainstream philosophy, offers an alternative to the latent scientism of Wittgenstein's influential ‘elucidatory’ readers. (shrink)