The demand for 'criteria of correctness' to identify recurring particulars in Wittgenstein's private language argument favors an idealist interpretation of quantum phenomena.The indeterminacy principle in quantum physics and the logic of the private language argument share a common concern with the limitations by which microphysical or sensation particulars can be reidentified. Wittgenstein's criteria for reidentifying particular recurrent private sensations are so general as to apply with equal force to quantum particulars, and to support the idealist thesis that quantum phenomena are (...) themselves essentially mental or dependent on mental occurrences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place from (...) another side and no longer know your way about.Wittgenstein, Philosophical Investigations2IntroductionThis article explores a Wittgensteinian approach for dealing with the meaning of works of art in the practice of critical and contextual studies in art education. The article is aimed at developing a methodology for eleven to nineteen year olds, known in the UK as the secondary phase of education, but the approach could be generalized to other educational phases.Henry Finch3 interprets four references to meaning found in Ludwig Wittgenstein's philosophy of language as a quadrant that combines the horizontal axis of meaning as physiognomies (the experiential and visual) and meaning as constructions (concepts, uses, science, and mathematics), with a vertical axis of meaning as imperatives (rule following, obligations, and law) and meaning as custom (ceremonies, myths, and ritual).4 The quadrant represents Finch's understanding of Wittgenstein's views about how language serves a different but complementary role in the way human beings engage [End Page 65] with meaning in the world and their place in it.5 Such meanings are embedded in social practices, including first-person responses to a physiognomy, although these start off as biologically primed reactions.Michael Luntley argues that Wittgenstein's philosophy of language and the related remarks on perception should be understood as setting conditions for the possibilities of judgment in "seeing the world aright, in taking the right attitude to the world"6 rather than simply mapping the possibilities of meaning, as the former underscores the role of will7 in the way meaning is actively witnessed and ethically processed by an agent. Having the right view is still only a view, but for Wittgenstein this amounted to an immense ethical and philosophical project to see things accurately and in correct relationship to each other. Such perspectival stances result from an agent's capacity to selectively engage with meaning, with a more unitary understanding resulting from criss-crossing the same territory from different points of view. Wittgenstein's four references to meaning can be thought of as forming four different points on a compass that direct the "self-as-will engaged with that which is independent of will "8 in a quest to see things aright. By extension, such an approach could be used in art education to enable students to develop the dispositions to see works of art aright.Marcia Eaton describes the tension between epistemic and interpretative approaches to the meaning of works of art in this way: "In which direction should one go? In other words, how can judgments which seem so personal (relative, subjective, etc.) also play a role in interpersonal (absolute, objective, etc.) language games?"9 Michael Podro gives a similar description of the apparent tension between a context-bound analysis of works of art and their irreducible and autonomous qualities as like "constantly treading a tightrope."10 Ralph Smith highlights the difference "between having knowledge about art and personally experiencing its presence and power."11Ben Tilghman12 advocates a Wittgensteinian way of going beyond these twofold approaches for understanding and interpreting art by focusing on the role that ponderable and imponderable evidence play in achieving the right stance when attempting to condense the meaning of works of art. Following Wittgenstein, Tilghman argues that a judgment based on imponderable evidence can often be supported by ponderable evidence, a process that is always linked to the relative experience, knowledge, and wisdom of the person making the judgment. Wittgenstein's four references to meaning could be thought of as points on a compass for directing the will in fittingness when endeavoring to understand the role and relationship of ponderable and imponderable evidence in any attempt to see works of art aright. But before these ideas can be... (shrink)

This paper examines Wittgenstein's conception of absolute safety in the light of two potential problems exposed by Winch. These are that, firstly: even if someone's life has been virtuous so far, the contingency of its remaining so until death vitiates the claim that the virtuous person cannot be harmed; and secondly: when voiced from a first-person standpoint, the claim to be absolutely safe due to one's virtuousness appears hubristic and self-undermining. I argue that Wittgenstein's mystical conception of safety, unlike some (...) others, requires no claim about one's own virtue and hence can be construed as avoiding these problems. (shrink)

What is it to see a stove as world (als Welt) and why does the early Wittgenstein use such a curious example to describe what it means to see something as significant (bedeutend)? I argue that Wittgenstein's odd choice can be best understood in the light of a conceptual relation between value and semantic meaning. To that purpose, I draw attention to his use of the word Bedeutung to denote value, and to the direct connection he draws between seeing as (...) world and seeing with the whole logical space. To see a stove as bedeutend, I conclude, is to see it against the background of the propositional contexts in which a stove figures meaningfully. (shrink)