What are the limits of Left Wittgensteinianism's point- and need-based account of conceptual change? Based upon Wittgenstein's account of certainty and the riverbed analogy for conceptual change in On Certainty, the question is raised whether Queloz and Cueni's redevelopment of Left Wittgensteinianism can account for the multiplicitous forms of change these concepts are subject to. I argue that Left Wittgensteinianism can only partially do so, because it overemphasises the role of criticism-driven conceptual change, due to its focus on the reason-based (...) contingency of the practices of a local ‘we’. In response, it is argued that Left Wittgensteinianism should be fortified with (i) gradual changes to concepts' sociocultural constraints that concept-users are unaware of and (ii) evolutionary and environmental changes to the biological determinants of natural constraints of conceptual cores. In the end, there are conceptual practices like holding for certain that are generally, and fully contingent, but simultaneously inevitable not only for ‘us’ but also for many other delimitations of ‘we’. Subsequently, the compatibility of this Wittgensteinian account of conceptual change with pragmatic genealogy is discussed. It is concluded that thinking about conceptual changes to practices cannot be about the possibility of criticism alone nor succeed without the inclusion thereof. (shrink)

This article makes three main claims: (1) that the philosophy of Ludwig Wittgenstein, properly understood, has no normative or political implications whatsoever; (2) that scholars with otherwise dramatically conflicting interpretations of Wittgenstein should nonetheless all agree with this conclusion; and (3) that understanding the (non-) implications of Wittgenstein’s philosophy helps to answer the two motivating questions of the literature on value pluralism — whether values are (or can be) plural (yes), and whether value pluralism leads to, requires, or reveals some (...) particular normative or political response (no). (shrink)

This study examines the relativistic aspects of Arnold Schoenberg's harmonic and aesthetic theories in the light of a framework of ideas presented in the early writings of Ludwig Wittgenstein, the logician, philosopher of language, and Schoenberg's contemporary and Austrian compatriot. The author has identified correspondences between the writings of Schoenberg, the early Wittgenstein, and the Vienna Circle of philosophers, on a wide range of topics and themes. Issues discussed include the nature and limits of language, musical universals, theoretical conventionalism, word-to-world (...) correspondence in language, the need for a fact- and comparison-based approach to art criticism, and the nature of music-theoretical formalism and mathematical modeling. Schoenberg and Wittgenstein are shown to have shared a vision that is remarkable for its uniformity and balance, one that points toward the reconciliation of the positivist-relativist dualism that has dominated recent discourse in music theory. Contrary to earlier accounts of Schoenberg's harmonic and aesthetic relativism, this study identifies a solid epistemological core underlying his thought, a view that was very much in step with Wittgenstein and the Vienna Circle, and thereby with the most vigorous and forward-looking stream in early twentieth century intellectual history. (shrink)