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Eran Guter
Max Stern Yezreel Valley College
  1. On Not Explaining Anything Away.Eran Guter & Craig Fox - 2018 - In Gabriele M. Mras, Paul Weingartner & Bernhard Ritter (eds.), Philosophy of Logic and Mathematics, Contributions to the 41st International Wittgenstein Symposium. Kirchberg am Wechsel, Austria: Austrian Ludwig Wittgenstein Society. pp. 52-54.
    In this paper we explain Wittgenstein’s claim in a 1933 lecture that “aesthetics like psychoanalysis doesn’t explain anything away.” The discussions of aesthetics are distinctive: Wittgenstein gives a positive account of the relationship between aesthetics and psychoanalysis, as contrasted with psychology. And we follow not only his distinction between cause and reason, but also between hypothesis and representation, along with his use of the notion of ideals as facilitators of aesthetic discourse. We conclude that aesthetics, like psychoanalysis, preserves the verifying (...)
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  2. Wittgenstein on Mahler.Eran Guter - 2013 - In Danièle Moyal-Sharrock, Volker A. Munz & Annalisa Coliva (eds.), Mind, Language and Action: Contributions to the 36th International Wittgenstein Symposium. Austrian Ludwig Wittgenstein Society.
    In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without it he was sure (...)
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  3.  17
    “A Small, Shabby Crystal, yet a Crystal”: A Life of Music in Wittgenstein’s Denkbewegungen.Eran Guter - forthcoming - In B. Sieradzka-Baziur, I. Somavilla & C. Hamphries (eds.), Wittgenstein's Denkbewegungen. Diaries 1930-1932/1936-1937: Interdisciplinary Perspectives. Innsbruck, Austria: StudienVerlag.
    Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...)
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  4. Wittgenstein, Modern Music, and the Myth of Progress.Eran Guter - 2017 - In Ilkka Niiniluoto & Thomas Wallgren (eds.), On the Human Condition – Essays in Honour of Georg Henrik von Wright’s Centennial Anniversary, Acta Philosophica Fennica vol. 93. Helsinki: Societas Philosophica Fennica. pp. 181-199.
    Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...)
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  5. Impurely Musical Make-Believe.Eran Guter & Inbal Guter - 2015 - In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter. pp. 283-306.
    In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...)
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  6. Wittgenstein on Musical Depth and Our Knowledge of Humankind.Eran Guter - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Palgrave-Macmillan. pp. 217-247.
    Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language and (...)
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  7. The Good, the Bad, and the Vacuous: Wittgenstein on Modern and Future Musics.Eran Guter - 2015 - Journal of Aesthetics and Art Criticism 73 (4):425-439.
    This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...)
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  8. Ornamentality in the New Media.Eran Guter - 2010 - In Anat Biletzki (ed.), Hues of Philosophy: Essays in Memory of Ruth Manor. College Publications. pp. 83-96.
    Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under conditions (...)
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  9. Wittgenstein Reimagines Musical Depth.Eran Guter - 2016 - In Stefan Majetschak Anja Weiberg (ed.), Aesthetics Today: Contemporary Approaches to the Aesthetics of Nature and of Art, Contributions to the 39th International Wittgenstein Symposium (Kirchberg am Wechsel: ALWS, 2016). pp. 87-89.
    I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms of vertically (...)
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  10. A Surrogate for the Soul: Wittgenstein and Schoenberg.Eran Guter - 2011 - In Enzo De Pellegrin (ed.), Interactive Wittgenstein. Springer. pp. 109--152.
    This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas about contemporary music (...)
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  11.  51
    Toward an Aesthetics of New-Media Environments.Eran Guter - 2016 - Proceedings of the European Society for Aesthetics.
    In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...)
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