My purpose here is to focus on an aspect of Ludwig Wittgenstein’s later philosophy which has not yet been fully explored, namely the way in which his insights border on being as much aesthetic as they are philosophical. I am suggesting that his work can be seen as an effort to redirect our attention away from the usual issues of linguistic philosophy and towards a broader perspective on the task of thinking about the nature of the relationship between language and (...) the world. I shall draw briefly on the writings of J. L. Austin in order to amplify this perspective. (shrink)

This response to review essays (covering all of my major scholarly writing) by David Rutledge and Dale Cannon appreciatively affirms most points emphasized in their respective analyses. I acknowledge that my scholarship has served my teaching, as Rutledge notes; I frequently use diagrams because I believe they usually are pedagogically very effective. My writing has strong interdisciplinary overtones and I have special interest in religion, art and education. Slowly, I have worked to integrate the ideas of Polanyi and other important (...) thinkers emphasized by my teacher William Poteat, and, as Cannon recognizes, this is not an easy task. I frequently use the term “postmodern” rather than Polanyi’s “post-critical” because the term engages the current philosophical dialogue outside of Polanyi circles. I believe that metaphorical thinking and speaking is the heart of our embodied, everyday discourse and it liberates our language and thought from the restrictions imposed by the “pseudo-objectivism” of the standard way of carrying on philosophical endeavor. I have focused on the epistemological rather than the existential aspects of Polanyi’s thought. (shrink)

This article questions the commonly accepted belief that God, like a ceramic potter, is able to control the outcome of events even as the potter controls the outcome of the clay-throwing process. However, those who are familiar with the artistic process of creating with clay know well that this is a symbiotic dynamic between the creator and the clay, as is that between God and human events.