Wittgenstein composed five original musical fragments during his transitional middle period, in which he employs musical notation as a means by which to convey his philosophical thoughts. This is an overlooked aspect of the importance of aesthetics, and musical thinking in particular, in the development of Wittgenstein’s philosophy. We explain and evaluate the way the music interlinks with Wittgenstein’s philosophical thoughts. We show the direct relation of these musical examples as precursors to some of Wittgenstein’s most celebrated ideas (the push (...) beyond the inner/outer picture, the problem of rule-following, and aspect perception). We also show how important broad aesthetic notions such as style and composition concerning the very possibility of philosophizing were to Wittgenstein. (shrink)

The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take the opportunity to (...) relate Wittgenstein’s ideas on music to this current debate, thereby achieving a twofold goal: not only to reintroduce Wittgenstein’s ideas into the current debate, but also to use the current debate as a foil to better appreciating Wittgenstein’s otherness as a philosopher of music. I argue that Wittgenstein’s unique philosophical response to the Romantic framing of the discourse concerning musical profundity —specifically, its threefold emphasis on the specificity, aboutness, and artistically exalted status of music— occasioned a view, which was bound to be glossed over by a philosophical tradition, whose origins had made it inimical to Wittgenstein’s original philosophical insights. I conclude that, in a sense, Wittgenstein occasions a paradigm shift by his philosophical thrust to undo the gravitational forces which form the current debate: the very idea of aboutness pertaining to music, and the very idea that a clear line could ever be drawn between music and language. (shrink)

In this paper I will examine the embodied dimension of emotions, and of inner life more generally, according to Wittgenstein’s anti-subjectivistic account of expression. First of all, I will explore Wittgenstein’s critique of a Cartesian disembodied account of the inner life, and the related argument against the existence of a private language. Secondly, I will describe the constitution of inner life as the acquisition of embodied ways of expressing oneself and of responding to others within a shared context, against the (...) background of an inherited weave of cultural expressive practices. Here, I will analyze Wittgenstein’s embodied account of expression, the ‘modified concept of sensing’ and ‘seeing’ which is involved in seeing the emotions of others as their expressions, and consequently Wittgenstein’s critique of an epistemological account concerning our ‘knowledge’ of others’ minds. Finally, with reference to Cavell’s and Mulhall’s readings, I will reflect on the figure of the ‘aspect-blind’, one who ‘just knows’ the emotion of others but cannot acknowledge it, and accordingly is not able to see it as the embodied expression of the other’s inner life. In this way, I wish to argue that Wittgenstein not only calls into question a disembodied account of the inner life from a theoretical point of view, but also shows the ethical consequences of a disembodied account of self through the figure of the aspect-blind. (shrink)