Historically, the Vienna Circle and the Dessau Bauhaus were related, with members of each group familiar with the ideas of the other. Peter Galison argues that their projects are related as well, through shared political views and methodological approach. The two main figures that connect the Vienna Circle to the Bauhaus—and the figures upon which Galison focuses—are Rudolf Carnap and Otto Neurath. Yet the connections that Galison develops do not properly capture the common themes between the Bauhaus and Neurath’s philosophical (...) projects. We demonstrate this by considering Neurath’s philosophical commitments. We suggest different connections between Neurath’s projects and the Bauhaus, connections that are both substantive and philosophically interesting. (shrink)

In early major works, Cassirer and Schlick differently recast traditional doctrines of the concept and of the relation of concept to intuitive content along the lines of recent epistemological discussions within the exact sciences. In this, they attempted to refashion epistemology by incorporating as its basic principle the notion of functional coordination, the theoretical sciences' own methodological tool for dispensing with the imprecise and unreliable guide of intuitive evidence. Examining their respective reconstructions of the theory of knowledge provides an axis (...) of comparison along which to locate Cassirer's Neo-Kantianism and Schlick's pre-positivist empiricism, and an immediate background of contrast to the subsequent rise of logical empiricism. For in the absence of intuition all our knowledge is without objects and therefore remains entirely empty. (Kant A62/B87) And how awkward is the human mind in diving the nature of things when forsaken by the analogy of what we see and touch directly? (Boltzmann 1895). (shrink)

Moritz Schlick’s work shaped Logical Empiricism and thereby an important part of philosophy in the first half of the 20th century. A continuous thread that runs through his work is a philosophical diagnosis of the ‘great errors in philosophy’: philosophers assume that there is intuitive knowledge/knowledge by acquaintance. Yet acquaintance, it is not knowledge, but an evaluative attitude. In this paper I will reconstruct Schlick’s arguments for this conclusion in the light of his early practical philosophy and his reading of (...) Schopenhauer’s The World as Will and Idea. Having the historical roots of Schlick’s position in view will put us in a position to explore and question its presuppositions. (shrink)

The logical empiricists expressed a consistent attitude to racial categorisation in both the ethical and scientific spheres. Their attitude may be captured in the following slogan: human racial taxonomy is an empirically meaningful mode of classifying persons that we should refrain from deploying. I offer an interpretation of their position that would render coherent their remarks on race with positions they adopted on the scientific status of taxonomy in general, together with their potential moral or political motivations for adopting that (...) position. (shrink)

On 15 October 1959, Rudolf Carnap, a leading member of the recently founded Vienna Circle, came to lecture at the Bauhaus in Dessau, southwest of Berlin. Carnap had just finished his magnum opus, The Logical Construction of the World, a book that immediately became the bible of the new antiphilosophy announced by the logical positivists. From a small group in Vienna, the movement soon expanded to include an international following, and in the sixty years since has exerted a powerful sway (...) over the conduct of the philosophy of science as well as over wide branches of philosophy, economics, psychology, and physics. The site of Carnap’s lecture that day, the Dessau Bauhaus, was a stunning building designed by Walter Gropius and dedicated just three years earlier. Protected by its flat roof and glass walls, the artists, architects, weavers, and furniture designers had made the school a citadel of high modernism. It was here that Carnap addressed an enthusiastic audience on “Science and Life.” “I work in science,” he began, “and you in visible forms; the two are only different sides of a single life.”1 In this paper I will explore this “single life” of which the new philosophy and the new art were to be different facets; in the process, I hope to cast light on the shared modernist impulses that drove both disciplines in the interwar years. 1. Rudolf Carnap, lecture notes for his Bauhaus lecture, “Wissenschaft und Leben,” prepared 1 Oct. 1929 and delivered 15 Oct. 1929, transcription from shorthand by Gerald Heverly, Carnap Papers in the Archives of Scientific Philosophy, University of Pittsburgh Libraries, University of Pittsburgh , document RC 110-07-49. Quoted by permission of the University of Pittsburgh. All rights reserved. Translations are my own unless otherwise noted. Peter Galison is associate professor in the departments of philosophy and physics at Stanford University, where he co-chairs the program in the history of science. His primary interest is in the history and philosophy of experimentation, the subject of his How Experiments End and Big Science: The Growth of Large-Scale Research, edited with Bruce Hevly . His current project is entitled Image and Logic: The Material Culture of Modern Physics. (shrink)

This paper discusses the views of Moritz Schlick connecting aesthetics with the meaning of life. The fundamental question that Schlick asks is how anything appears beautiful. The discussion of the beautiful comes down to a discussion of aesthetic pleasure. Aesthetic pleasure has the characteristic of having no use defined in survival terms of self-preservation and propagation. Art, for Schlick, is seen as essentially play. Schlick addressed how his view that connects aesthetic pleasure and play essentially to the non-useful, can be (...) explained in light of the theory of natural selection. Then this is related to the meaning of life as play or youth. (shrink)

Review of Mortiz Schlick's "Basic Problems of Aesthetics in the Light of Evolutionary Theory" and "On the Meaning of Life." From these, the paper suggests an aesthetic theory that describes art-making as play. This theory may be useful to identify artworks from non-artworks.

It is shown that Külpe’s critical realism anticipates several elements of modern scientific realism. Furthermore, a comparison with contemporary American critical realism is drawn. On the whole, it is argued that more intensive relevant research in the future is needed.

It is not well known that Moritz Schlick, whose name is inseparable from the development of logical positivism, was extremely critical of positivism prior to the 1920’s. The positivism Schlick found fault with was associated with the physicist Ernst Mach. Schlick went to considerable lengths to criticize Machian positivism on both epistemological and ontological grounds. He also objected to the positivist claim to be able to account for relativity theory within its framework.Schlick’s views before his move to Vienna in 1922 (...) have been labeled a “critical empiricist realism” (see Feigl 1938, p. xx) or a “structural realism” (Friedman 1983, p. 501). His exposure to the work of Ludwig Wittgenstein is generally held up as the crucial factor in turning him away from his early realist views towards positivism. There is general acknowledgment of a major change in Schlick’s philosophical thinking in the early 20’s; disagreement exists, however, over both the extent of the change and whether it was a positive or negative one. (shrink)