This essay provides an overview of the ways in which contemporary philosophers have tried to make sense of ineffability as encountered in aesthetic contexts. Section 1 sets up the problem of aesthetic ineffability by putting it into historical perspective. Section 2 specifies the kinds of questions that may be raised with regard to aesthetic ineffability, as well as the kinds of answer each one of those questions would require. Section 3 investigates arguments that seek to locate aesthetic (...) ineffability within the object of aesthetic experiences, i.e. within aesthetic content. Section 4 discusses arguments that seek to locate aesthetic ineffability within the subject of aesthetic experience. (shrink)

Though largely neglected by philosophers, the concept of ineffability is integral to the Christian mystical tradition, and has been part of almost every philosophical discussion of religious experience since the early twentieth century. After a brief introduction, this article surveys the most important discussions of divine ineffability, observing that the literature presents two mutually reinforcing obstacles to a coherent account of the concept, creating the impression that philosophical reflection on the subject had reached an impasse. The article goes (...) on to survey some more recent work, which draws on the conceptual resources of existential phenomenology, pragmatism, and the later Wittgenstein. It shows that this work has made possible a new philosophical account of divine ineffability that surmounts the obstacles, overcomes the impasse and makes divine ineffability, once again, a live option in philosophy of religion. The article concludes with some brief remarks on how this alternative approach reflects recent trends in the discipline as a whole and has the potential to make a valuable contribution to live research questions in epistemology of religion. (shrink)

In the first two sections of this reply article, I provide a brief introduction to the topic of ineffability and a summary of Ineffability and Religious Experience. This is followed, in section 3, by some reflections in reply to the response articles by Professors Metz and Cooper. Section 4 presents some concluding remarks on the future of philosophy of religion in the light of the most recent philosophical work on ineffability.

Saying that x is ineffable seems to be paradoxical – either I cannot say anything about x, not even that it is ineffable – or I can say that it is ineffable, but then I can say something and it is not ineffable. In this article, I discuss Alston’s version of the paradox and a solution proposed by Hick which employs the concept of formal and substantial predicates. I reject Hick’s proposal and develop a different account based on some passages (...) from Pseudo-Dionysius’ Mystica Theologia. ‘God is ineffable’ is a metalinguistic statement concerning propositions about God: not all propositions about God are expressible in a human language. (shrink)

ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is seen (...) as an experiential phenomenon that consists of layers, some recent, others archaic. As such, musical meaning is strongly characterized by asubjectivity. It is in-between, in a state where the division of subject and object is not yet valid or valid anymore. A naturalistic interplay of experiential layers in music brings about a non-reified dynamics driving for expressions, interpretations, engenderings of subjects and objects or even for political action. Generally speaking, the in-betweenness of musical meaning can never be universally reified or symbolic nor can it ever be “subjective,” “mine” or present “at the origin.”In this view, ineffability has two primary reasons. First, the criteria offered for defining musical meaning are often too strict, resulting in untenable pretensions of universality. Second, the processual and relational nature of the in-between keeps meaning in flux; any snapshot creates a new situation and new meanings. (shrink)

What makes it possible to affect one another, to move and be moved by another person? Why do some of our encounters transform us? The experience of moving one another points to the inter-affective in intersubjectivity. Inter-affection is hard to account for under a cognitivist banner, and has not received much attention in embodied work on intersubjectivity. I propose that understanding inter-affection needs a combination of insights into self-affection, embodiment, and interaction processes. I start from Michel Henry's radically immanent idea (...) of self-affection, and bring it into a contrastive dialogue with the enactive concepts of autonomy and (participatory) sense-making. I suggest that the latter ideas can open up Henry's idea of self-affection to inter-affection (something he aimed to do, but did not quite manage) and that, in turn, Henry's work can provide insights into underexplored elements of intersubjectivity, such as its ineffable and mysterious aspects, and erotic encounters. (shrink)

An Editorial for issue 128.1 of the Expository Times.

I summarize John Hick’s pluralistic theory of the world’s great religions, largely in his own voice. I then focus on the core posit of his theory, what he calls “the Real,” but which I less tendentiously call “Godhick”. Godhick is supposed to be the ultimate religious reality. As such, it must be both possible and capable of explanatory and religious significance. Unfortunately, Godhick is, by definition, transcategorial, i.e. necessarily, for any creaturely conceivable substantial property F, it is neither an F (...) nor a non-F. As a result, Godhick is impossible, as shown by the Self-Identity Problem, the Number Problem, and the Pairing Problem. Moreover, even if Godhick is possible, it faces the Insignificance Problem. The upshot is that, so far as I can see, John Hick’s God is unworthy of any further interest. (shrink)

Does having some feeling or other ever count as an argument – and, should it? As a matter of fact, not just do persons sometimes refer to their feelings to make a point in debate. Often, they even treat them as irrefutable arguments; for they are, of course, certain of their own feelings. To make a point in debate by reference to one’s feelings, one has got to articulate them. As language is the core medium of debate (though it can (...) be supported by images etc.), feelings, then, have to be articulated in words. These words, to function in communication, must participate in what is general (though not necessarily universal). On that level of generality, other speakers of the same language can contest the feelings – not that they have occured within the first speaker’s subjectivity, but that they are reasonable reactions to circumstances. Hence if feeling is sometimes to be taken seriously as an argument, it is not irrefutable, but rather refutable; and to the extent that somebody insists that it is irrefutable, it cannot count as an argument. (shrink)

Mysticism and the sciences have traditionally been theoretical enemies, and the closer that philosophy allies itself with the sciences, the greater the philosophical tendency has been to attack mysticism as a possible avenue towards the acquisition of knowledge and/or understanding. Science and modern philosophy generally aim for epistemic disclosure of their contents, and, conversely, mysticism either aims at the restriction of esoteric knowledge, or claims such knowledge to be non-transferable. Thus the mystic is typically seen by analytic philosophers as a (...) variety of 'private language' speaker, although the plausibility of such a position is seemingly foreclosed by Wittgenstein's work in the Philosophical Investigations. Yorke re-examines Wittgenstein's conclusion on the matter of private language, and argues that so-called 'ineffable' mystical experiences, far from being a 'beetle in a box', can play a viable role in our public language-games, via renewed efforts at articulation. (shrink)

In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the atmosphere. The (...) first part of this paper points to the limits of an understanding of atmosphere as a constellation of things, as proposed by Gernot Böhme. In contrast to this, Hermann Schmitz conceptualises atmosphere as half-thing which suggests movement. Drawing on this, I propose to methodologically approach atmospheres as movements. Consequently, in the second part of this paper I closely analyse two motions as they cohere in Closed Brethren worship services: first, becoming (Deleuze and Guattari), a movement on the level of the individual worshiper; secondly, territorialisation (Deleuze and Guattari), a movement of the atmosphere towards its solidification. Here music as atmosphere is not a system of moral signification but a generative power affording intimate processes of divine encounter, whilst producing affective denominational difference. (shrink)

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 (...) the mind, and also his pervasive pessimism as a philosopher of culture. In this essay I explore and explicate some of the major tenets of this unique position. I argue that Wittgenstein appropriates the Romantic focus on the specificity of musical expression by means of the idea that gesture consists in complex vertical interrelations between language games. Understanding what a musical passage is about logically presupposes a myriad of correlate moves in the entire range of our language-games. Wittgenstein explicates the notion of musical aboutness in terms of intransitive understanding, which expresses an internal relation conjoining musical gesture and our culture, our entire life in practice, whereupon the related concepts cannot be identified independently of the relation which holds them together. Wittgenstein responds to the Romantic focus on the unique knowledge of human life which is afforded by musical experience with his idiosyncratic later notion of Menschenkenntnis. I conclude that, in the context of Wittgenstein’s late work, ineffability pertaining to musical meaning is not a shortcoming, but rather constitutional of the type of games, which admit what Wittgenstein calls ‘imponderable evidence’, or indefiniteness. (shrink)

In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, provides an (...) explanation for the ineffability and subjective universality of the perception of beauty in the form of objects. In part one, I set out two models of perception conducive to this approach. In part two, I suggest how such theories can offer a way of explaining and understanding the experience of beauty. (shrink)

I urge philosophers of religion to investigate far more vigorously than they have until now the acceptability of varied components of the world religions and their epistemological underpinnings. By evaluating "acceptability" I mean evaluation of truth, morality, spiritual efficacy and human flourishing, in fact, any value religious devotees might think significant to their religious lives. Secondly, I urge that philosophers of religion give more attention to what scholars have called the "esoteric" level of world religions, including components of strong (...) class='Hi'>ineffability, weak ineffability, and an alleged perennial philosophy. All this should involve a cooperative effort between analytic, comparative, and feminist philosophy of religion. (shrink)

Seeing of emptiness and mystical experience — the case of Madhyamaka: The problem of Buddhist religiosity is one of the most classic problems of Buddhist studies. A particular version of this issue is the search for mystical experience in Buddhism. This is due to the conviction that mystical experience is the essence of religious experience itself. The discovery of such an alleged experience fuels comparative speculations between Buddhism and the philosophical and religious traditions of the Mediterranean area. Madhyamaka is the (...) Buddhist tradition which many researchers saw as the fulfillment of such mystical aspirations in Buddhism. In this paper I specify the standard parameters of mystical experience (non‑conceptuality, ineffability, paradoxicality, silence, oneness, fullness) and I conclude that they either cannot be applied to Madhyamaka or that the application is only illusory. (shrink)