In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) the clarifying (...) experience of the dawning of an aspect, which Wittgenstein pictures as the perception of an internal relation. By examining Wittgenstein’s use of “internal relation” from the Tractatus to his later writings, I come to challenge the still prevalent understanding of Wittgenstein’s appeals to grammar as an appeal to something given (e.g., to a set of grammatical rules). Instead, as I argue, Wittgensteinian appeals to grammatical criteria should be understood as modeled by the form of justification found in our conversations about art. (shrink)

Accelerating environmental uncertainty and the need to cope with increasingly complex market and social demands, combine to create high value for the intuitive approach to decision-making at the strategic level. Research on intuition suffers from marked fragmentation, due to the existence of disciplinary silos based on diverse, apparently irreconcilable, ontological and epistemological assumptions. Not surprisingly, there is no integrated interdisciplinary framework suitable for a rich account of intuition, contemplating how affect and cognition intertwine in the intuitive process, and how intuition (...) scales up from the individual to collective decision-making. This study contributes to the construction of a broad conceptual framework, suitable for a multi-level account of intuition and for a fruitful dialogue with distant research areas. It critically discusses two mainstream conceptualizations of intuition which claim to be grounded in a cross-disciplinary consensus. Drawing on the complexity paradigm, it then proposes a conceptualization of intuition as emergence. Finally, it explores the theoretical and practical implications. (shrink)

It is commonly held that Bradley’s regress has a solution within a trope ontology. This seems to happen when a bundle is understood as constituted by non-transferable tropes. It also seems to happen when a bundle is understood as constituted by transferable tropes related by a relational trope of compresence whose existence specifically depends on those relata. In this article I demonstrate that these proposals fail in addressing the essential question that underlies the regress, incurring in a question-begging response already (...) anticipated by Bradley. (shrink)

This paper investigates the issue whether metaphors have a metaphorical or secondary meaning and how this question is related to the borderline between philosophy and linguistics. On examples by V. Woolf and H. W. Auden, it will be shown that metaphor accomplishes something more than its literal meaning expresses and this “more” cannot be captured by any secondary meaning. What is essential in the metaphor is not a secondary meaning but an internal relation between a metaphorical proposition and a description (...) of its effects. In order to understand metaphors, we have to share an ability to construe metaphorical meanings at once. The aim of this ability is to uncover an internal relation, which lies behind a particular metaphor. (shrink)

The purpose of this article is to explore the relationship between the thought of Richard Rorty and that of his former teacher, Charles Hartshorne. There are important similarities between the two, but ultimately the differences are more readily apparent, especially in terms of the battle between poetry (in the wide sense of the term conceived by Rorty) and (Hartshornian) metaphysics. Hartshorne is defended against Rorty.

At the turn of the twentieth century, the debate between supporters of internal and external relations showed how our assumptions on the nature of relations result in ontological, epistemic, and ethical commitments. In this debate, Alfred North Whitehead provided the most articulated and satisfying account through his “philosophy of the organism,” which holds relations to be internal yet vectorial, without excluding completely external relations. Today, the debate has become once again topical and constitutes a core issue for speculative realism. This (...) paper aims to show how the theory of external relations endorsed by some leading figures of speculative realism does not suffice to preserve the desiderata it was designed for, and how a more serious consideration of Whitehead’s theory would have beneficial effects on the ontological and ethical issues of this rejuvenated metaphysical discourse. (shrink)

Despite their differences, Ludwig Wittgenstein, Ralph Waldo Emerson, and Leo Strauss share two key philosophical commitments. They recognize that philosophy cannot establish or discover a conceptual structure to which one might appeal to justify what one says. And they agree that the task of philosophical writing is to convey a way of thinking set apart from that which seeks to establish or discover conceptual structures. Yet each knows that his writing, in the absence of a universal ground of appeal, will (...) mostly fail to convey that way of thinking, and so will be, to that extent, esoteric. What differentiates them is their rendering of philosophy's inherent esotericism. -/- Wittgenstein's late interest in aspect-seeing and aspect-blindness grows out of his well-documented despair that his writing would fall before uncomprehending eyes. The correlation here rests on noticing, contra Stephen Mulhall, that Wittgenstein's aspect-seeing remarks are inspired by aesthetic matters, not least by the 'subjective universality' of aesthetic judgments. Indeed, Wittgenstein's appeals to grammatical criteria are rightly understood, not as appeals to rules in a game, but as cousin to the form of justification in aesthetics. But then, as in aesthetic justification, there may be no reason for a speaker's inability to convey to another the connections he or she may see. Emerson, whose approach to writing comes into view alongside parallel strategies in jazz and film, begins with the fact that he can write the way he does---relying on the transformative possibilities of words whose multiple meanings he acquired the way anyone does---and concludes that no one is precluded from finding in his writing a model for transforming thinking. Strauss begins with the fact that esoteric writing works the way it does---conveying the writer's true thoughts to some while withholding them from the majority---and concludes that such writing reveals a natural order of rank among readers. Yet nothing in the nature of writing philosophy as Strauss understands it compels one, in the end, to accept Strauss's conclusion. (shrink)