Ideas on meaning, rules and mathematical proofs abound in Wittgenstein’s writings. The undeniable fact that they are present together, sometimes intertwined in the same passage of Philosophical Investigations or Remarks on the Foundations of Mathematics, does not show, however, that the connection between these ideas is necessary or inextricable. The possibility remains, and ought to be checked, that they can be plausibly and consistently separated. I am going to examine two views detectable in Wittgenstein’s works: one about proofs, the other (...) about meaning and rules. The first is the denial of the objectivity of proof. The second is a conception of meaning stemming from the rule-following considerations. I shall argue that, though Wittgenstein seems to conjoin the two views, they can be, and should be, separated1. (shrink)

In his Remarks on the Foundations of Mathematics, Wittgenstein claims, puzzlingly, that ‘the proof creates a new concept’ (RFM III-41). This paper aims to contribute to clarifying this idea, and to showing how it marks a major break with the traditional conception of proof. Moreover, since the most natural way to understand his claim is open to criticism, a secondary goal of what follows is to offer an interpretation of it that neutralizes the objection. The discussion proceeds by analysing a (...) well-known geometrical proof. (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)