Monk’s ‘The Temptations of Phenomenology’ examines what the term ‘Phänomenologie’ meant for Wittgenstein. Contesting various other scholars, Monk claims that Wittgenstein’s relation to ‘Phänomenologie’ began and ended during 1929. Monk only partially touches on the question of Wittgenstein’s relation to the phenomenological movement during this time. Though Monk does not mention this, 1929 was also the year in which Ryle and Carnap turned their critical attention toward Heidegger. Wittgenstein also expressed his sympathy for Heidegger in 1929. Furthermore, though in 1929 (...) Wittgenstein agrees with the early Husserl on relating logic and science to phenomenology, it is not clear that they mean the same thing by either logic or phenomenology, or that they agree on what the relation between the two should be. (shrink)

Cassirer’s philosophy of culture has been examined through various disciplines. Until now, however, no such assessment has taken place within the field of economics. In this paper, I attempt to develop this unexplored task through the economic concepts of commodity, money, capital, and culture. I argue that these concepts can help to draw an updated concept of capitalism and power relations created through capitalist planning. I also claim that these concepts can contribute to understanding the historical specificity of capitalist culture, (...) by understanding it as an historical process of social production. I conclude that these concepts are able to defy Cassirer’s view of capitalism as a system in which economic prosperity and political liberty could be achieved in a universal manner. Finally, I demonstrate that these concepts can shed light on Cassirer’s failed quest to find a coherent universal culture within capitalism. (shrink)

The philosopher of Mathematics Jean Cavaillès plays an important role in Claude Imbert's thought. His published work had a significant impact after the war. It is largely a reflection on debates on the foundation of mathematics and on two opposed models of axiomatics, foundationalist and constructionist. The philosophy he announced was to be a study of the generativity of conceptual structures, as opposed to a phenomenology of knowledge. He derived from his reflection on invention in mathematics a great scepticism on (...) the ideas of the separateness and unity of consciousness and a criticism of the teleologies inherent in philosophies of consciousness. In that, his work, according to Claude Imbert, made possible the reflections on structures and symbolisms which were to dominate the French context in the following decades. (shrink)

ABSTRACT This article is written in the field of the philosophy of science. The aim is to express how painting and drawing can be used as part of a phenomenological research method. The painter or drawer is a visual researcher in the process of capturing a holistic and truthful experience of a cultural phenomenon. We will highlight the visual researcher process and how the experience of truth is known throughout this process. The paining and sketches, which we present in this (...) article, are part of a book, together with written narratives and pedagogical theory – on teaching as a phenomenon – called Lærerpraksis og Pedagogisk teori. The paintings and drawings present teaching in a way that complements and expands the written text. The sketches and painting of teaching attempt to establish the truth as unconcealment of a phenomenon. Our argumentation is based on the theories of Gadamer, Cassirer, Panofsky and Heidegger. Gadamer connects humanistic research with artistry and the experience of truth. Cassirer argues that the perception of a cultural phenomenon begins as a holistic understanding to bring forth the symbolic form or essence of the phenomenon. Panofsky transfers the theory of Cassirer into the field of painting. The concept of synthetic intuition is the intrinsic knowing of a painting, which corresponds to Cassirer’s concept of symbolic forms. Heidegger’s theory explores how art unfolds and preserves the truth. We will argue that the connection between art and truth could bring forth important perspectives on phenomenological science and turn the research activity closer to an artistic form. (shrink)

This article examines the mutual influence between Ernst Cassirer and his cousin, the neurologist Kurt Goldstein. For both Cassirer and Goldstein, views on the nature of human cognition were fundamental to their understanding of scientific knowledge, and these were informed by both philosophical theorizing and empirical research on pathologies of the nervous system. Following Cassirer, and in agreement with the physicalism of the Vienna Circle, Goldstein held that the physical sciences had progressed by arriving at abstract, mathematical representations to take (...) the place of qualitative characterizations of observable reality. In tension with physicalism, Goldstein was not sanguine about the fruitfulness of the abstractive approach in biology. He proposed that biology must adhere to its own sui generis methods of observation and experimentation in order to obtain knowledge of the “natures” of living organisms. I argue that there is a parallel with Cassirer’s assertion of the differences between physical and cultural sciences, underwritten by the deployment of varying symbolic functions. I also propose that the neurological writings of Goldstein are an important backdrop to Cassirer’s positive evaluation of abstract thought, in contrast to the pessimism regarding a worldview dominated by scientific abstractions expressed by philosophers such as Bergson, Whitehead, and Husserl. (shrink)

We call those gestures “instrumental” that can enhance certain thinking processes of an agent by offering him representational models of his actions in a virtual space of imaginary performative possibilities. We argue that pointing is an instrumental gesture in that it represents geometrical information on one’s own gaze direction, and provides a ritualized template for initiating gaze coordination and joint attention. We counter two possible objections, asserting respectively that the representational content of pointing is not constitutive, but derived from language, (...) and that pointing directly solicits gaze coordination, without representing it. We consider two studies suggesting that attention and spatial perception are actively modified by one’s own pointing activity: the first study shows that pointing gestures help children link sets of objects to their corresponding number words; the second, that adults are faster and more accurate in counting when they point. (shrink)