Aspect-seeing, I claim, involves reflection on concepts. It involves letting oneself feel how it would be like to conceptualize something with a certain concept, without committing oneself to this conceptualization. I distinguish between two kinds of aspect-perception: -/- 1. Preparatory: allows us to develop, criticize, and shape concepts. It involves bringing a concept to an object for the purpose of examining what would be the best way to conceptualize it. -/- 2. Non-Preparatory: allows us to express the (...) ingraspability of certain experiences. It involves bringing a concept to an object for the purpose of showing—per impossible—what it would take to properly capture one’s experience. -/- I demonstrate the usefulness of the two kinds of aspect perception in making conceptual judgments, and in making moral and aesthetic judgments. (shrink)

The anthropologist James Frazer investigates the ritual gesture in search of be- liefs about the physical world by the native. Wittgenstein considers this a case of aspect- blindness, one that is disruptive of the conditions for understanding the native’s most triv- ial gestures. Unable to cast his glance from within the native situation, this methodological view from nowhere has an arresting effect on experience – in particular, the experience of speaking. This interruption is to be examined by means of (...) a thought experiment. Then, through the interplay of the concepts of Spirit and Aspect, a philosophical tool is described to assess the problem that can also serve as practical guide back to ordinary experience. The next step is to examine this way out in a particularly sensitive kind of experience of meaning: the aesthetic experience, also seen as a ritual. We conclude by alluding to a pos- sibly mutual illumination between aesthetic experience, translation studies and a Cavellian take on ordinary language. (shrink)

This is the introduction to Seeing Wittgenstein Anew, eds. William Day & Victor J. Krebs (Cambridge UP, 2010), a collection of essays on Ludwig Wittgenstein's remarks on aspect-seeing. Section 1: Why Seeing Aspects Now?; Section 2: The Importance of Seeing Aspects; Section 3: The Essays. (The front matter to Seeing Wittgenstein Anew appears above under "Books.").

Seeing Wittgenstein Anew is the first collection to examine Ludwig Wittgenstein’s remarks on the concept of aspect-seeing. These essays show that aspect-seeing was not simply one more topic of investigation in Wittgenstein’s later writings, but, rather, that it was a pervasive and guiding concept in his efforts to turn philosophy’s attention to the actual conditions of our common life in language. Arranged in sections that highlight the pertinence of the aspect-seeing remarks to aesthetic (...) and moral perception, self-knowledge, mind and consciousness, linguistic agreement, philosophical therapy, and “seeing connections,” the sixteen essays, which were specially commissioned for this volume, demonstrate the unity of not only Philosophical Investigations but also Wittgenstein’s later thought as a whole. They open up novel paths across familiar fields of thought: the objectivity of interpretation, the fixity of the past, the acquisition of language, and the nature of human consciousness. Significantly, they exemplify how continuing consideration of the interrelated phenomena and concepts surrounding aspect-seeing might produce a fruitful way of doing philosophy. The volume includes a concordance for the unnumbered remarks in the various editions of Philosophical Investigations, including the latest (4th) edition. (The front matter is posted here. The introduction - "Seeing Aspects in Wittgenstein" - appears below under "Published articles."). (shrink)

"Lest one think that the focus on aspect-seeing in Wittgenstein is only a means to more contemporary philosophical ends, one ought to read Day’s remarkable 'Wanting to Say Something: Aspect-Blindness and Language'. Day considers the issue of aspect-blindness, arguing that universal aspect-blindness is impossible for beings with language. Specifically, he shows that a child’s first attempt at language, at trying “bloh” for “ball,” is neither an indication that the child sees the ball for the first (...) time, nor an indication that the child is giving a first label for an object seen all along. Rather, he shows that this attempt is an indication of the dawning of an aspect. The dawning of aspects, so common during the phase of language acquisition, becomes supplanted by language itself. Universal aspect-blindness is not humanly possible, then. Day argues that the acquisition of language results in a loss of desire for aspects (which it is possible to regain through art). Localized aspect-blindness is familiar because as language-users, we have lost our desire for aspects. Day then turns to questions about the deep purpose behind Wittgenstein’s style. Why are those doubting voices prominent? Why does Wittgenstein demand so often that the reader answer his questions? Day shows that these elements of Wittgenstein’s style arise from a motivation to regain his own desire for aspects, and he wants to re-awaken our own desire for aspects. Day motivates us to consider aspect-seeing in order to see Wittgenstein himself anew." --Chris Weigel, Book Review of Seeing Wittgenstein Anew, Journal of the History of Philosophy 49:2 (April 2011): 263. (shrink)

Visitors is a hybrid art film fusing photography and music into a complex abstract texture for the attention of the viewer. It is also a requiem for our ‘New Order for the Ages’ in which humanity grows more and more technologically interconnected and communality means being alone together. We argue that Visitors can be experienced as a seeing aid designed to situate the viewer bewilderingly as needing to reacquire the capacity to see human beings as human beings. This is (...) achieved by various cinematic strategies of dépaysement, which render the familiar uncommon again by enabling us to recapture the uncanniness of what it is to be human. Most strikingly, seeing one another anew is facilitated in Visitors by the autonomous gradual musical processes of Philip Glass’s minimalist score, which not only affords a musical narrative for the imagery but also binds the film ironically to Beethoven’s Ninth Symphony. (shrink)

Defenders of moral perception have famously argued that seeing value is relevantly similar to seeing color. Some critics think, however, that the analogy between color-seeing and value-seeing breaks down in several crucial respects. Defenders of moral perception, these critics say, have not succeeded in providing examples of non-moral perception that are relevantly analogous to cases of moral perception. Therefore, it can be doubted whether there is such a thing as moral perception at all. I argue that, (...) although the analogy between color perception and moral perception does indeed break down in several crucial respects, that conclusion does not weaken the case of defenders of moral perception, because better analogies are available. If defenders of moral perception seek to draw support from an analogy, then seeing emotion will protect them better against criticisms than will seeing color. (shrink)

It is natural to say that when we acquire a new concept or concepts, or grasp a new theory, or master a new practice, we come to see things in a new way: we perceive phenomena that we were not previously aware of; we come to see patterns or connections that we did not previously see. That natural idea has been applied in many areas, including the philosophy of science, the philosophy of religion, and the philosophy of language. And, in (...) reflecting on the character of philosophy itself, Wittgenstein himself associates the introduction of a new concept in philosophy with the discovery of a new way of looking at things (PI §401), and says that the point of presenting us with an imagined example may be to change our way of looking at things (PI §144). The paper considers four interrelated questions about this association between seeing-as and change, novelty, or innovation. 1. Is there an important difference between the case where the change in someone’s way of seeing things involves the invention or discovery of a completely new concept, a completely new theory etc., and the case where it involves the person’s coming to understand an existing concept or theory? 2. Is there a special connection between seeing-as and conceptual or theoretical change or creativity: a connection that does not obtain between seeing-as and using or applying a familiar theory or system of concepts? 3. In cases where seeing-as is associated with novelty or creativity, is there any sense in which the fact that someone sees things in a new way can help to explain their conceptual or theoretical creativity? 4. To the extent that there is some association between seeing-as and novelty or creativity, why if at all does it matter that one experiences things in a certain way? Would someone who was aspect-blind be any worse off with respect to creativity or innovation than the rest of us? And if so, why? (shrink)

Large changes in a scene often become difficult to notice if made during an eye movement, image flicker, movie cut, or other such disturbance. It is argued here that this _change blindness_ can serve as a useful tool to explore various aspects of vision. This argument centers around the proposal that focused attention is needed for the explicit perception of change. Given this, the study of change perception can provide a useful way to determine the nature of visual attention, and (...) to cast new light on the way that it is?and is not?involved in visual perception. To illustrate the power of this approach, this paper surveys its use in exploring three different aspects of vision. The first concerns the general nature of _seeing_. To explain why change blindness can be easily induced in experiments but apparently not in everyday life, it is proposed that perception involves a _virtual representation_, where object representations do not accumulate, but are formed as needed. An architecture containing both attentional and nonattentional streams is proposed as a way to implement this scheme. The second aspect concerns the ability of observers to detect change even when they have no visual experience of it. This _sensing_ is found to take on at least two forms: detection without visual experience (but still with conscious awareness), and detection without any awareness at all. It is proposed that these are both due to the operation of a nonattentional visual stream. The final aspect considered is the nature of visual attention itself?the mechanisms involved when _scrutinizing_ items. Experiments using controlled stimuli show the existence of various limits on visual search for change. It is shown that these limits provide a powerful means to map out the attentional mechanisms involved. (shrink)

The psychology and phenomenology of our knowledge of other minds is not well captured either by describing it simply as perception, nor by describing it simply as inference. A better description, I argue, is that our knowledge of other minds involves both through ‘perceptual co-presentation’, in which we experience objects as having aspects that are not revealed. This allows us to say that we perceive other minds, but perceive them as private, i.e. imperceptible, just as we routinely perceive aspects of (...) physical objects as unperceived. I discuss existing versions of this idea, particularly Joel Smith’s, on which it is taken to imply that our knowledge of other minds is, in these cases, perceptual and not inferential. Against this, I argue that perceptual co-presentation in general, and mind-perception in particular, yields knowledge that is simultaneously both perceptual and inferential. (shrink)

This chapter focuses on the psychological mechanisms behind the construction of preference, especially the actual processes used by humans when they make decisions in their everyday lives or in business situations. The chapter uses cognitive psychological techniques to break down these processes and set them in their social context. When attributes are compatible with the response scale, they are assigned greater weight because they are most easily mapped onto the response. For instance, when subjects are asked to set a price (...) for a gamble this task is compatible with the information about the gamble payoff, which is also expressed in monetary values (e.g., dollars). Conversely, when the task requires a choice the payoff information is not easily mapped onto the response anymore and loses some of its salience. In fact, Slovic, Griffin, and Tversky (1990) could show that using non-monetary outcomes attenuates preference reversals when no compatibility between the pricing task and the outcome attribute was possible. An assumption of the compatibility effect is that response modes compatible with specific characteristics of the options (e.g., payoffs) draw attention to them. One of the main themes that has emerged from behavioral decision research during the past decades is the view that people's preferences are often constructed—not merely revealed—in the process of elicitation (see e.g. Slovic). This conception is derived in part from studies demonstrating that normatively equivalent methods of elicitation often give rise to systematically different responses. These "preference reversals" violate the principle of procedure invariance fundamental to theories of rational choice and raise difficult questions about the nature of human values. If different elicitation procedures produce different orderings of options, how can preferences be defined and in what sense do they exist? Describing and explaining such failures of invariance will require choice models of far greater complexity than the traditional models -/- . (shrink)

A Few Notes on Aspect Seein g in Contemporar y Aesthetics In this paper author examines the problem of aspect seeing in reference to works of Ludwig Wittgenstein and Virgil C. Aldrich posing the question of whether they are applicable to experience of musical works. Drawing on examples from Wittgenstein’s Philosophical Investigations, author maintains that hearing a melody as solemn, sad, et cetera is neither universal nor unequivocal. Musical work, author suggests, does not present itself spontaneously to (...) the listener. Conversely it must be sought and found. To speak of aspect hearing or hearing as (as aesthetic hearing) in reference to music, one must seek out those qualities of musical work that are perceptual but also individually grasped in contrast to what is given in experience through acculturation and training. (shrink)

In this paper, I would like to put forward the claim that, at least in some central cases, visualising consists literally in imagining seeing. The first section of my paper is concerned with a defence of the specific argument for this claim that M. G. F. Martin presents in his paper 'The Transparency of Experience' (Martin 2002). This argument has been often misunderstood (or ignored), and it is worthwhile to discuss it in detail and to illus­trate what its precise (...) nature is and why I take it to be sound. In the second section, I present a second and independent argument for the claim that visualising is imagining seeing, which is not to be found in Martin's writings, despite some crucial similarities with his own argument ‒ notably in the focus on the subjective aspects of visual experience. The last section deals with a particular objection to the idea that imagining takes perception as its direct object and says a bit more about how best to understand this claim. (shrink)

Neither logical deduction nor empirical induction is capable of mediating the dispute between religious disciples and non-disciples. The case is particularly acute when it comes to the divine Reality (God). Within Wittgenstein’s theoretical framework, some scholars start from the perspective of language games, contending that this dispute is meaningless and should be abandoned, while others are not satisfied with such a settlement and extend Wittgenstein’s aspect theory to religious issues, arguing that God is an aspect. The extension includes (...) analogous and theoretical extensions. This article will show that even if these two extensions are successful, their interpretations with regard to the disputes between religious disciples and non-disciples are not convincing. Worse still, the extension from aspect theory to religious issues is by no means successful in proving that God is an aspect. (shrink)

On January 2023, I received an email from somebody regarding Velmans’s article 2008. After I took a look at the paper, I started to read his book 2000. Therefore, in this section, I will investigate Velmans’ works from 2000 and 2008. I emphasize that the main difference between Spinoza’s (Velmans) dual aspect theory and my EDWs approach is the framework of thinking: Spinoza, Velmans and everybody until me had been working within the unicorn world (the Universe/world), while my EDWs (...) assumes the rejection of the the universe/world; I replace this eternal and wrong notion with the EDWs. (see my previous works; my first five books and a book from 2022 and many of my articles are FREE on internet at my webpage and other pages). (shrink)

This paper proposes a parallel between the theories of pictorial representation put forward by Edmund Husserl and Richard Wollheim. By doing so, it aims to facilitate a dialogue that can provide some new elements for an appropriate understanding of threefold seeing-in. The first section offers a comprehensive interpretation of Husserl’s theory of image-consciousness. This experience is considered a threefold perceptual phantasy, different from perception and sign-consciousness. The second section presents a review of Wollheim’s theory of twofold seeing-in and (...) addresses a possible ambiguity in his notion of thing represented. Finally, the third section discusses two topics that result from this parallel: first, the characteristics of the configurational and recognitional folds in a seeing-in experience, and second, the possibility of their ‘mixture’ with phantasy. As a result, I propose a different account of threefold seeing-in: I suggest that the configurational and the recognitional folds should be considered aspects or intentions of seeing-in, and that the configurational aspect corresponds to the intention to the image-object. (shrink)

Naive realists hold that experience is to be understood in terms of an intimate perceptual relation between a subject and aspects of the world, relative to a certain standpoint. Those aspects of the world themselves shape the contours of consciousness. But blurriness is an aspect of some of our experiences that does not seem to come from the world. I argue that this constitutes a significant challenge to some forms of naive realism. But I also argue that there is (...) a robust form of naive realism which is unfazed by the blurriness of some of our experiences, even when that blurriness is understood as a subjective modification of consciousness. (shrink)

What is a disaster? This paper explores the different hermeneutic levels that need to be taken into consideration when approaching this question through the case of Japan. Instead of a view of disasters as spatiotemporal events, we approach disasters from the perspective of the milieu. First, based on the Japanese «dictionaries of disasters», the Japanese vocabulary of disaster is described. Second, this paper reviews briefly the Japanese interdisciplinary disaster-management tradition. To highlight the human-made aspect of disasters, the idea of (...) fūdo 風土 is introduced. This concept allows us to see disasters as a phenomenon of the milieu, which emerges from the co-constitutive relations between individuals, communities, and the local environment. The final part debates the narratives by some national and international political actors that link «Japanese identity and culture» to disaster management and sometimes include nationalist claims rooted in the essentialization of the «Japanese exception». Given the cruciality of sociocultural and political representations of disasters tied to identity politics, and the increasing frequency and intensity of disasters, a long-term, local people-focused and culturally sensitive perspective on disasters might be better adapted to the climate change era. (shrink)

This article explores the concept of sight perception from both cognitive and aesthetic perspectives, by examining the limits of visual attention. It discusses how conscious and unconscious mechanisms can influence what individuals see and may experience aesthetically. It also presents empirical research employing eye-tracking to analyze the visual behavior of visitors of an art exhibition viewing a painting of Japanese artist Isson Tanaka (1908-1977). The study demonstrates that indiscernible aspects of vision interact on the limits of perception, which gives birth (...) to new images. Specifically, the eye-tracking records and uncovers the invisible traces of people's eyes as they are observing the painting, providing opportunities for visual poetics based on sensory input and eye movements. Overall, this interdisciplinary approach contributes to a more thorough understanding of the complexities of visual perception in the arts. (shrink)

I demonstrate that analogies, both explicit and implicit, between Wittgenstein’s discussions of rituals, aesthetics, and aspect-perception, have important payoffs in terms of understanding his notion of a “surveyable representation” (übersichtliche Darstellung) as it applies to phenomena that are not exclusively grammatical in nature. In particular, I argue that a surveyable representation of certain anthropological and aesthetic facts allows us to see, qua form of aspect-perception, internal relations and formal connections, so that the inner nature of a ritual or (...) the solution of an aesthetic puzzle is exhibited. This particular form of seeing both explains why Wittgenstein thought that hypothetical explanations about the origins of a ritual are irrelevant to appreciating its meaning and elucidates his understanding of rituals, which involves seeing “internal relations” and “formal connections.” The upshots of the account for work in anthropology are discussed. (shrink)

This article brings out ethical aspects arising in Plato’s classical critique of narrative and imitative art in The Republic, especially when it comes to reading stories about the past. Socrates’s and Glaucon’s most important suggestion, I argue, is to cultivate an ethical consciousness where one ought to see the distinctions between how the real and the imaginary in narratives are to be conceived, and what that insight ethically demands of the reader. Taken as an ethical insight for the reader when (...) engaging in narrative understanding, this should be to resist the temptation to think that past suffering and misery as told in a story can be read analogously to narratives having a tragic plot. The article clarifies the meaning of Plato’s critique through the ideas of Simone Weil, Emmanuel Lévinas and Iris Murdoch. These existential moral philosophers work towards having an ethical consciousness in one’s personal relationship with stories of our lifeworld. (shrink)

The dissertation adopts the question of self-determination as a thread to guide us into Martin Heidegger's work. Heidegger's early work is expounded as an attempt to ascertain the possibility of self-determination, while his later work is expounded as the renunciation of this attempt. In chapters one to four, the author focuses on the exposition of Being and Time. The author upholds that Heidegger's early philosophy is torn in different directions. In the phenomenological descriptions of the first division of Being and (...) Time, we see the attempt to think Dasein as a relational being, which depends on others and on the world. However, Heidegger's distinction between authentic and inauthentic Dasein is not only descriptive. It contains a call to self-determination. The philosophy of Being and Time changes as a result of this call. In order to ascertain the possibility of self-determination, Heidegger shifts the focus away from being-in-the-world and toward the self's concern with itself. The theory of temporality as the meaning of care obliterates the essential thrownness of Dasein. The author argues that there is a conflict between phenomenological description and existentialist concern with oneself in Heidegger's early project. In chapter five, the author argues that this conflict is one of the main reasons for the famous "turning" in Heidegger's philosophy. Heidegger realizes that he cannot grasp the world-oriented, "ecstatical" character of Dasein without giving up his early theory of temporality as the meaning of care. The idea of a supra-historical articulation of existential structures is rejected. The author argues that "epochality" and "nativity" are the basic forms of Dasein's lack of self-determination. Human being is never autonomous, insofar as it always already belongs to a particular age and historical people. (shrink)

This paper sets Maurice Merleau-Ponty and Nishida Kitarō in dialogue and explore the interpretations of artistic expression, which inform their similar phenomenological accounts of perception. I discuss how both philosophers look to artistic practice to reveal multi-perspectival aspects of vision. They do so, I argue, by going beyond a “positivist” representational under-standing of perception and by including negative aspects of visual experience as constitutive of vision. Following this account, I interpret artworks by Cézanne, Guo Xi, Rodin, and Hasegawa according to (...) the versions of multi-perspectival vision articulated by Nishida and Merleau-Ponty. I conclude by highlighting a difference between Merleau-Ponty’s “depth” and Nishida’s “seeing without a seer” regarding the extent to which each of their philosophies de-substantialize and de-localize human vision. (shrink)

The present volume is the fourth issue of the Almanac series entitled ‘Evolu-tion’. Thus, one can maintain that our Almanac, which has actually turned into a Yearbook, has succeeded (see below). The title of the present volume is ‘From Big Bang to Nanorobots’. In this way we demonstrate that all phases of megaevolution and Big History are cov-ered in the articles of the present Yearbook. Several articles also present fore-casts about possible future developments. The main objective of our Yearbook as (...) well as of the previous issues (see Grinin, Korotayev, Carneiro, and Spier 2011a, Grinin, Korotayev, and Rodrigue 2011a, Grinin and Korotayev 2013a) is the creation of a unified inter-disciplinary field of research in which scientists specializing in different disci-plines could work within a framework of unified or similar paradigms, using common terminology and searching for common rules, tendencies and regularities. At the same time for the formation of such an integrated field one should use all available opportunities: theories, laws and methods. In the present volume, a number of such approaches including those which will be described below are used. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)

In this paper I first discuss the colour-octahedron and the position of this model as an idealized system with respect to the remarks on colour-concepts in Remarks on Colour (RC). The next part examines the notion of aspect seeing in the light of the colour-octahedron and RC. From there a connection is made with On Certainty (OC). By linking the remarks on colour, seeing aspects and certainty, it may become clear that the investigations of Wittgenstein concerning colour (...) and certainty direct us towards a reflective dynamics and an anthropological interpretation of his ideas. (shrink)

The article deals with the question of the “globalization” project of the Roman civilization. Author asserts that the Romans had a specific “globalization” project. The construct “Iovem imperium” can explain the phenomenon of the Roman self-government and “sacred claim” of Roman community to domination in other lands. Pax Romana was conceived as an expression of Roman power (imperium), the boundaries of the Roman Republic were perceived as the border of the civilized world. Augustus was a brilliant manager, who could implement (...) the Roman idea (an essential element of which was “Iovem imperium”) in the best way and create an almost perfect model of “globalization” in the ancient world. Forms of government were subordinated to the general concept of the Roman idea, and when to implement it in the new historical conditions required concentration of the supreme power in the same hands, the Romans willingly agreed to this, seeing in a World Empire highest embodiment of the republic as a “common cause” of its citizens. (shrink)

In this paper I argue that the notion of aspect seeing is a substantial tool to shed light on the question whether rule-following is something necessary individual or social and on how this issue is connected to novelty. Bloor's (1997) insights will be used as representative of the social primacy of rule-following and Luntley (2003) will be taken up in order to examine an example of the individual stance. Weighing pros and cons and taking the notion of (...) class='Hi'>aspect seeing into account, these insights will lead us to the conclusion not only that the individual and the social are merely constructs, created by us for practical purposes, but also that we tend to overlook our most basic ties with the world, exactly because of these constructs and conventions. If we adopt an artistic meta-view and make use of the philosopher’s reflection, Wittgenstein's emphasis on the importance of ‘everyday life’, also in philosophy, takes on a new meaning. (shrink)

The aim is to examine the multiple meanings of creativity in creative economy. The meanings which reinforce the individual aspect stress that personal characteristics may unlock the wealth that lies within people. The definitions that reinforce the organizational and social aspects understand creativity as a process, which requires knowledge, networks, and technologies that interconnect novel ideas and contexts. The perspectives which reinforce the political aspect see that creativity took the status of a doctrine to secure collaboration between government (...) and industry. However, these notions of creativity stress its instrumental utility and undermine fantasy, play, or uselessness. (shrink)

“I myself still find my way of philosophizing new, & it keeps striking me so afresh, & that is why I have to repeat myself so often. […] [R]epetitions […] [f]or me […] are necessary.” (CV 1998: 3e) Wittgenstein's style is well known for its recursive—and according to some interpreters, even obsessive-compulsive—quality, but they are part of a thinking method: “I suggest repetition as a means of surveying the connections.” (AWL 1979: 43) The style also mirrors recurring ideas such as (...) “concepts are not for use on a single occasion” (Z 1981: 568), or the “bustle (Getriebe) of life […] comes about only through constant repetition” (RPP 1980b: 625 – 626). The aim of this essay is to show how the notion of repetition (Wiederholung) plays a significant role in the evolution of Wittgenstein's thought. It is the manifestation of a philosophical praxis, and although the notion of repetition remains in the background, it is a constant presence in his production, often featuring alongside his best-known concepts, like rule following, aspect seeing, and his thoughts on music and mathematics. This article will examine the different ways in which Wittgenstein reflects on the question of repetition in relation to the idea of identity, variation, and diversity, and as a fundamental aspect of human practice that is not the mere manifestation of underlying rules or principles, but a necessary condition for their emergence. (shrink)

The point of Wittgenstein’s remarks on colour concerns, not so much colours as such, as well as our ability to see [that implies both seeing ánd thinking] and our capacity to imagine something. This can be seen from the fact that Wittgenstein relates the notion of ‘seeing aspects’ on the one hand to the colour octahedron in PB, and on the other hand to the colour puzzles as discussed in ROC. This connection between Wittgenstein’s remarks on colour, on (...) seeing aspects and on certainty makes clear that these investigations of Wittgenstein direct us towards a reflective dynamics of his ideas. (shrink)

Wittgenstein's Philosophical Investigations is organized in short paragraphs or "remarks." Most of these are numbered consecutively, but some are not – including his remarks on "aspect-seeing" that are the focus of Seeing Wittgenstein Anew. This appendix to that volume is an indexed catalog of the unnumbered remarks, cross-referenced to four different editions, including the latest (4th) edition. -/- Note: There is a missing remark that should be inserted on p. 363 of the concordance, after the "A sensation (...) can" line, thus: What is the 185e 158e PPF §60. (shrink)

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the ambiguity of (...) reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (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)

Five aspects of visual change detection are reviewed. The first concerns the concept of change itself, in particular the ways it differs from the related notions of motion and difference. The second involves the various methodological approaches that have been developed to study change detection; it is shown that under a variety of conditions observers are often unable to see large changes directly in their field of view. Next, it is argued that this “change blindness” indicates that focused attention is (...) needed to detect change, and that this can help map out the nature of visual attention. The fourth aspect concerns how these results affect our understanding of visual perception—for example, the implication that a sparse, dynamic representation underlies much of our visual experience. Finally, a brief discussion is presented concerning the limits to our current understanding of change detection. (shrink)

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)

In this paper I argue that the early Kant’s Physical Monadology (1756)—which attempts to solve the philosophical problem of reconciling the infinite divisibility of space with the substantial status of material bodies—is best understood within the framework of substance–accident ontology. I begin by showing how Kant relies on that ontology when arguing that composition as a relation can be taken away, leaving us with simple substances or monads. After this, I discuss apparently conflicting two interpretative camps considering the “force by (...) which the simple element of a body occupies its space” (1:482). Given that neither of them is satisfactory, I explain the way in which Kant’s theory of grounds, positing, and determinations draws on the Aristotelian theory of substances, essences, and necessary and non-necessary accidents. In causal terms, this framework amounts to a theory of powers in which both the internal determinations constitutive of a substance and the accidents they posit are causally efficacious. This enables us to see that the existing interpreting camps result from highlighting different aspects of Kant’s quite nuanced theory of monadic powers. To express that theory economically, it can be called a dual layer theory of power: monads are (1) essentially powerful substances that bring about (2) three kinds of powers—repulsive, attractive, and inertial—as accidents; from these accidents, in turn, result such properties as impenetrability, volume, shape, and cohesion. In virtue of the latter type of powers, a monad most importantly has a determinate sphere of influence by which it occupies space and prevents other things penetrating the space it fills—thereby entering in the mechanical world of bodies. The defended interpretation can thus reveal the full nature of the early Kant’s fine-grained theory of monadic powers and show it to be quite understandable in its ingenious use of a time-honored ontological framework in a post-Newtonian setting. (shrink)

A theme running through Katherine Hawley’s recent works on trust and trustworthiness is that thinking about the relations between these and Miranda Fricker’s notion of testimonial injustice offers a perspective from which we can see several limitations of Fricker’s own account of testimonial injustice. This paper clarifies the aspects of Fricker’s account that Hawley’s criticisms target, focusing on her objections to Fricker’s proposal that its primary harm involves a kind of epistemic objectification and her characterization of testimonial injustice in terms (...) of prejudicial credibility deficits. I also offer an assessment of the potency of Hawley’s objections, concluding that they do point to genuine limitations of Fricker’s account, but that we can appreciate Hawley’s points without adopting her trust-centric approach to testimonial injustice, or her specific commitment-based accounts of trust and trustworthiness. However, in the last section I examine the positive picture of testimonial injustice that emerges from Hawley’s discussion of unequally distributed obstacles to both being trustworthy and maintaining a reputation for trustworthy testimony in her recent book How To Be Trustworthy, considering how this picture contrasts with Fricker’s account and where it might have important affinities with other accounts in the literature. (shrink)

An important aspect of moral expertise is moral sensitivity, which is the ability to be sensitive to the presence of morally salient features in a context. This requires being able to see and acquire the morally relevant information, as well as organise and interpret it, so that you can undertake the related work of moral judgement, focus (or motivation) and action. As a distinct but interrelated component of ethical expertise, moral sensitivity can and must be trained and educated. However, (...) despite its importance to moral education, there has been comparatively little discussion about the role of ethical sensitivity and the ways that it can be trained within the context of Kant’s, and Kantian, ethics. This paper seeks to address this gap. While Kant does not explicitly focus in detail on moral sensitivity, by breaking sensitivity down into seven distinct aspects through drawing on the Four Component Model, we are able to identify a wealth of resources in Kant’s work from which we can con- struct an account of moral sensitivity education that draws on his underlying moral theory. (shrink)

In this essay we focus on our vast web of beliefs that serves us as a rough and ready map of reality, generated more to give us comfort and confidence in an intimidating world than to be accurate. Maps of reality can never be accurate in any ultimate sense since reality itself is a convoluted entity that can only be accessed in never- ending layers. Our repertoire of beliefs, generated compulsively in the mind, span a huge spectrum in respect of (...) ties to affect and emotions on the one hand and of their credibility in depicting reality on the other. The interaction between our affect-based psychological needs, our need for having a sound comprehension of reality, and the infinitely tangled reality itself, leads to the generation of a large diversity of types of beliefs, where these get revised under the impact of reality by overcoming the restrain- ing effect of emotions in diverse ways and over diverse time scales—interestingly, the ‘reality’ includes the complex repertoire of affect and emotions itself that may, in cer- tain cases, generate the impact for our beliefs to change. Beliefs represented by small clusters in our belief network (see below) are commonly prone to frequent revision in a more or less random manner, though there are beliefs acquired in early life that are intransigent to change because of overriding ties to emotions. Beliefs represented by larger clusters are comparatively durable, and their revision has a systematic aspect to it because of a greater role of evidence-based factors—however,the evidence may, once again, be tied with emotions and beliefs oriented away from reason. Finally, there are prepotent beliefs that are resistant to change even over a lifetime. Often, these beliefs get revised only if we engage with our own selves, looking at conflicting forces within ourselves. In this context, we refer to narratives that are self-reinforcing and exercise almost a mesmerizing influence on us. In all this, there is a dual role of ‘rationality’ that needs being attended to in describing and explaining belief revision—rationality is not exclusively based on evidence and reason, but includes the implicit operation of affect and emotions too. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and interplay (...) in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

Suffering can make sacred, so it may partly be nature, and not culture alone, that leads us to apprehend a sacred aspect in victims of oppression. Those who recognize this sacredness show piety—a special form of respect—toward members of oppressed groups. The result is a system of social constructions often dismissed as “identity politics.” This essay starts with an analysis of the intentionality of piety and sacredness and how they relate to suffering, sacrifice, sanctions, pollution, and purification. It then (...) argues that the sacralization of oppressed groups is an expression of the perennial human disposition to acknowledge sacredness and to respond piously. The essay then analyzes this sacred status as socially constructed. Based on the sacred-making power of suffering, the sacred status elicits piety, gives its bearers special authority, surrounds them with sanctions, and calls for symbolic sacrificial punishments of the impious. By dissecting sacrificial politics as a system of social constructions, we see that, although the oppressed groups are made sacred, certain people in the oppressor groups—“the Pious”—continue to exercise fundamental power. This essay, by displaying the inner logic of this cultural phenomenon, helps us both to sympathize with and to critique the system and then to pose questions about what good or bad the system might be doing. (shrink)

Dr. Strange sees Dr. Stephen Strange abandon his once-promising medical career to become a superhero with the ability to warp time and space, and to travel through various dimensions. In order to make this transition, he is required to abandon many of his previous assumptions about the way the world works and learn to see things in a new way. Importantly, this is not merely a matter of learning a few facts, or of mastering new techniques. Instead, Dr. Strange is (...) required to alter his conception of the basic nature of the world and of how he relates to it. In time, this change extends to his values as well, as Strange comes to embrace his role in safeguarding the human world from interdimensional threats. -/- It is tempting to interpret Dr. Strange’s experience as one that shows the limits of rational, scientific inquiry, or even of human knowledge more generally. However, in this essay, I’d like to explore a different interpretation: that Strange’s experience can most fruitfully be thought of as a scientific revolution, in which Strange moves from one way of carrying out scientific inquiry to a different, incompatible way of doing it. In order to do this, I’ll be exploring the work of philosopher and historian of science Thomas Kuhn, who wrote a book—The Structure of Scientific Revolutions--about just this topic. Among other things, Kuhn’s work introduced the highly useful (though commonly misunderstood) notion of a paradigm shift. -/- We’ll begin by exploring what Kuhn describes as normal science, which consists of applying a set of well-understood concepts and methods to problems of interest. This “puzzle-solving” aspect of science is exemplified by Strange’s early successes in medicine. During this stage, scientists have good reasons to avoid questioning the basic validity of their paradigm, and to instead blame any problems that arise on other factors, such as human error. (As fans will know, Strange is quite good at assigning blame in just this way.) A crisis only occurs when significant, serious anomalies have accrued, such as those that Strange encounters in the aftermath of his accident. Even then, however, the old paradigm will only be abandoned only if a new paradigm can be found. Again, Strange’s experience bears this out, as he is able to move on only when the Sorcerer Supreme introduces him to the Mystic Arts. -/- Along the way, we’ll consider what it means for a practice to count as a scientific paradigm, and why it’s not just “anything goes.” Among other things, a paradigm requires that practitioners agree on which problems are most important, which techniques are appropriate to which problems, and what exemplary models of successful work look like. The Mystic Arts of Strange’s world, unlike the pseudoscientific theories of our own, plausibly do quite well on these sorts of criteria. (shrink)

Some readers of Wittgenstein---I discuss Robert Brandom---think that his writings contain a regress argument showing that the notion of participating in a practice is more basic than the notion of following a rule, in explanations of linguistic correctness. But the regress argument bears equally on both these notions: if there is an explanatory regress of rules, then there is an explanatory regress of practices as well. Why then does Wittgenstein invoke the notion of a practice, apparently by way of diagnosing (...) the error on which the regress argument rests? I suggest that he invokes that notion to emphasize certain aspects of rule-following which we are apt to neglect, when we forget that rule-following is---not, rests upon---participating in a practice. When we appreciate those aspects of rule/practice-following we see the flaw in both regress arguments. (shrink)

Wilfrid Sellars’s ethical theory was rich and deeply innovative. On Sellars’s view, moral judgments express a special kind of shared intention. Thus, we should see Sellars as an early advocate of an expressivism of plans and intentions, and an early theorist of collective intentionality. He supplemented this theory with a sophisticated logic of intentions, a robust theory of the categorical validity of normative expressions, a subtle way of reconciling the cognitive and motivating aspects of moral judgment, and much more— all (...) within a strict nominalism that preserves Sellars’s commitment to naturalism. The Ethics of Wilfrid Sellars offers the first systematic treatment of this sadly neglected aspect of Sellars’s work and demonstrates that his ethical theory— just like his more widely discussed epistemology— has much to contribute to current debates. (shrink)

The dialectical aspect in the work of Georges Bataille is often neglected. At the suggestion of Foucault and Derrida, Bataille is most often even taken to be a non-dialectical thinker. But Bataille worked intensely with Hegel's ideas, his thought was expressed in Hegelian terms, and both his epistemology and his ontology can be considered a determinate negation of Hegel's position in the Phenomenology. This is shown, first, by analysing Bataille's notions of `inner experience', and, second, by showing how Bataille (...) extends dialectics to the natural, non-human realm, and even conceives the link between the human and non-human as itself dialectical. However, once we see the dialectical nature of his theoretical stance, we are struck by a great vagueness in his practical conception of where society ought to be going. (shrink)

This paper explores one aspect of God’s omniscience, that is, his knowledge of human minds. In §1 I spell out a traditional notion of divine knowledge, and in §2 I argue that our understanding of the thoughts of others is a distinct kind of knowledge from that involved in knowledge of the physical world; it involves empathizing with thinkers. In §3 I show how this is relevant to the question of how, and whether, God understands the thoughts of man. (...) There is, we shall see, some tension between the alleged direct nature of God’s intuition-based knowledge and the empathetic nature of understanding other. (shrink)

The feeling of clarity can be dangerously seductive. It is the feeling associated with understanding things. And we use that feeling, in the rough-and-tumble of daily life, as a signal that we have investigated a matter sufficiently. The sense of clarity functions as a thought-terminating heuristic. In that case, our use of clarity creates significant cognitive vulnerability, which hostile forces can try to exploit. If an epistemic manipulator can imbue a belief system with an exaggerated sense of clarity, then they (...) can induce us to terminate our inquiries too early — before we spot the flaws in the system. How might the sense of clarity be faked? Let’s first consider the object of imitation: genuine understanding. Genuine understanding grants cognitive facility. When we understand something, we categorize its aspects more easily; we see more connections between its disparate elements; we can generate new explanations; and we can communicate our understanding. In order to encourage us to accept a system of thought, then, an epistemic manipulator will want the system to provide its users with an exaggerated sensation of cognitive facility. The system should provide its users with the feeling that they can easily and powerfully create categorizations, generate explanations, and communicate their understanding. And manipulators have a significant advantage in imbuing their systems with a pleasurable sense of clarity, since they are freed from the burdens of accuracy and reliability. I offer two case studies of seductively clear systems: conspiracy theories; and the standardized, quantified value systems of bureaucracies. (shrink)

In this chapter I will present, in a general way, Millikan's biosemantic theory of the phenomenon of intentionality. For this purpose, the text will take the following path. First, I will present the problem of intentionality and an overview of the dominant theories of intentional content during the twentieth century and part of the twenty-first century. Then, I will present a general version of Millikan's biosemantic theory, appearing in 1984, which will allow us to see what the relevance and originality (...) of his proposal consists in. Finally, in keeping with one of the central purposes of Las filósofas que nos formaron, I will share a brief interview that Millikan very kindly agreed to give for this publication, in which she tells us some non-theoretical aspects of her history as a philosopher. (shrink)