Aesthetic realism is offered as a way of overcoming aesthetic disagreement and combating all forms of subjectivism, emotivism, and so on, with its thesis that aesthetic qualities really exist and the judgements about them are genuine statements of fact. This paper questions the intelligibility of that thesis together with its claim that aesthetic qualities are supervenient upon non-aesthetic ones. It is suggested that in this context supervenience amounts to little more than aspect perception and that allows ontological claims about supervenient (...) qualities to be rejected. Subjectivism, however, is not the alternative. Neither realism nor subjectivism do justice to the complexity of aesthetic judgements and the roles that they play in our lives. It is suggested that the nature of these judgements is best pursued through Wittgenstein’s notions of aspect perception and imponderable evidence. (shrink)

Clarifies Wittgenstein's ideas about ethics and aesthetics and illustrates how those ideas apply to art history and criticism and to an understanding of the importance of art in people's lives.

The Alligator's Child was full of 'satiable curtiosity. One day while rummaging in a trunk in the lumber room he came across a photograph of his father wearing an aardvark uniform and standing by a large ant hill. All excitement, he rushed to his father and breathlessly said, ‘Father, I didn't know that you had been an aardvark! What is it like to be an aardvark?’.

The Alligator's Child was full of 'satiable curtiosity. One day while rummaging in a trunk in the lumber room he came across a photograph of his father wearing an aardvark uniform and standing by a large ant hill. All excitement, he rushed to his father and breathlessly said, ‘Father, I didn't know that you had been an aardvark! What is it like to be an aardvark?’.

Luce Irigaray's concept of the "sensible transcendental" is a term that paradoxically fuses mind with body while, at the same time, maintaining the tension of adjacent but separate concepts, thereby providing a fruitful locus for changes to the symbolic order. It provides this locus by challenging the monolithic philosophical discourses of the "Same" which, according to Irigaray, have dominated western civilization since Plato. As such, the sensible transcendental refuses the logic that demands the opposed hierarchal dichotomies between time and space, (...) form and matter, mind and body, self and other, and man and woman, which currently organize western civilization's discursive foundations. Instead, it provides a useful means for helping women to feel at home in their bodies, and it signifies the implementation of an ethical praxis based on the acknowledgment of sexual difference. Such a praxis demands philosophical, theological, juridical, and scientific accountability for systemic sexism and, in its acknowledgment and validation of the alterity of sexual difference, it respects life in its various forms and its vital relationship with biological and physical environments. (shrink)

Benjamin Tilghman has been a leading commentator on analytic philosophy for many years. This book brings together his most significant and influential work on aesthetics. Spanning a period of thirty years and covering topics in aesthetics from literature to painting, the collection traces the development of Tilghman's two principal themes; a rejection of philosophical theory as a way of resolving problems about our understanding and appreciation of art and the importance of the representation and presentation of the human (...) and human concerns in art. Tilghman is profoundly influenced by the philosophy of Ludwig Wittgenstein and his work is informed throughout by his conception and practice of philosophy. Written with exceptional clarity and with many references to original work in both painting and literature, this collection will be an invaluable resource not only for professional philosophers but for those working in the arts generally, art historians, critics and literary theorists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 188-195 [Access article in PDF] Wittgenstein and Poetic Language B. R. Tilghman ACCORDING TO RICHARD KUHNS there are certain important parallels between symbolist poetic theory, especially that of Paul Valéry, and Wittgenstein's picture of language developed in the Tractatus Logico-Philosophicus. 1 It strikes me that these parallels are strained and certainly unhelpful in illuminating either what Valéry says about poetry or his poetic (...) practice. In fact, I find certain things in Valéry that are closer in spirit to Wittgenstein's view of language in the Philosophical Investigations. 2 My concern here is not to criticize Kuhns's thesis nor to provide a systematic exposition of Valéry's thoughts about poetry so much as it is to use some of what they say as stepping stones to show the relevance of Wittgenstein's work for understanding at least some of what goes on in poetry.Kuhn says that "Linguistic forms fascinated both Valéry and Wittgenstein, and the possibility that language might achieve necessity in that it produced sentences held together by bonds of absolute security and irrevocability operates in the logical forms of the Tractatus as it does in Valéry's art. A poem, Valéry believed, must be wrought with such necessity of part to part, such fastness of interior design, that the reader be compelled by his reading to recognize all the implications of the sentences." 3 I set aside trying to make sense of the idea of language achieving necessity and assume that the analogue of the "bonds of absolute security and irrevocability" in the Tractatus is that a perspicuous [End Page 188] symbolism should immediately make clear all the logical implications of any proposition. The analogy between whatever it is that counts as poetic implications and logical implication, however, seems impossibly lame. The word "implication" applied to the sentences of poetry is not a technical term as is the word when used in logic and its meaning may not be altogether clear. Nevertheless, some of what it may mean can be brought out, I believe, in terms of examples. Consider T. S. Eliot's line that "April is the cruelest month, breeding lilacs out of the dead land...," the full sense—implications—of the words are not realized until they are seen in the context of the rest of the poem where we can understand them as making a point about the constrained and empty lives of the dwellers in the waste land. The description of the spring as cruel will help to serve as the poem develops to reveal to us the resistance of people to open themselves to human emotion and reaction. There are too many differences between this kind of thing and logical implication to make the analogy helpful.At one point Valéry says that "A poem is really a kind of machine for producing the poetic state of mind by means of words." 4 To that statement Kuhns comments that "Valéry's idea that a poem is a machine for producing poetic states is analogous to Wittgenstein's idea that logic is a machine for making sense, that there exists a structure which is the structure of possible meanings." 5 Valéry apparently wanted a poetry in which there is something akin to a necessary connection between the images and tropes within a poem so that there is only one way to read it. Although it is by no means clear what success in such an enterprise would be, some sense can be made of the idea of a poem as a structure of meanings held together by a kind of necessity. I shall try to make this clear. A poem invites us to move in various directions as the force of some figure of speech comes home to us or various associations dawn on us. In music a certain chord progression seems to demand a resolution into the tonic as its completion. This could be described as a kind of necessity, but, of course, not a logical one. Given our... (shrink)

Kaufman describes the current debate on the possibility of a definition of art between the theorists and the anti-theorist Wittgensteinians. The Wittgensteinian reliance on ‘family resemblances’ is a serious objection to theoretical definitions. Wittgenstein, however, is said to be unable to give a proper account of the ‘inner experience’ encountered in art. By way of response, it is urged that attention to Wittgenstein himself will show that there are misunderstandings of the idea of family resemblances and that Wittgenstein's writings provide (...) all we need to understand the depth of ‘inner experience’. (shrink)

Recent books by Paul Johnston, D. Z. Phillips, Philip Shields, and B. R. Tilghman all depict Wittgenstein as centrally concerned with ethics, but they range from representing his main works as expressing and advocating a particular religious-ethical outlook to arguing that his work has no ethical content but aims primarily to clarify such logical distinctions as that between ethical and empirical judgments. All four books raise the question about the moral philosopher's proper role, and each suggests a rather different (...) answer. Via the discussion of these books, I argue that Wittgenstein's stress on diversity in the ways of human life, his notion of conceptual grammar, the idea of a perspicuous representation, his lifelong involvement with art and his suggestions about its connection with morality, and his preoccupation with aspect-seeing-all suggest new possibilities of rehabilitating the historically recurrent idea that the philosopher may be a moral sage. (shrink)

Recent books by Paul Johnston, D. Z. Phillips, Philip Shields, and B. R. Tilghman all depict Wittgenstein as centrally concerned with ethics, but they range from representing his main works as expressing and advocating a particular religious-ethical outlook to arguing that his work has no ethical content but aims primarily to clarify such logical distinctions as that between ethical and empirical judgments . All four books raise the question about the moral philosopher's proper role, and each suggests a rather (...) different answer. Via the discussion of these books, I argue that Wittgenstein's stress on diversity in the ways of human life, his notion of conceptual grammar, the idea of a perspicuous representation, his lifelong involvement with art and his suggestions about its connection with morality, and his preoccupation with aspect-seeing-all suggest new possibilities of rehabilitating the historically recurrent idea that the philosopher may be a moral sage. (shrink)

In "But Is It Art?", B. R. Tilghman argues in effect that art's necessary paracriticism on other areas of human activity and interest follows from the condition that artistic and aesthetic perceptions are matters of experiencing aspects. However, aspect-seeing is so common in many avenues of human endeavor that it fails to justify a special artistic paracriticism. The realm of art has a language which must be understood in its own right, as is the case for any social realm (...) which dominates a portion of language as a whole. (shrink)

This paper highlights the importance of inter-relationships between language, context, practice and interpretation. These inter-relationships should be of interest to AI researchers working in multi-disciplinary fields such as knowledge based systems, speech and vision. Attention is drawn to the importance of Part II, Section II of Wittgenstein'sPhilosophical Investigations for understanding the enormous complexity of the concept of seeing and how it is woven into an understanding of language and of human relations.

There is much talk in the ‘art world’ about boundaries and the blurring of boundaries between art and non-art, art and craft, and various forms within art. What is meant by a boundary is not always clear and this paper tries to make some sense of what may be at stake when deciding on which side of a line something falls. It is suggested that the important thing is how we deal with and react to particular examples rather than worrying (...) about whether it is a this or a that. (shrink)

No satisfactory answers were received for the following questions.