By Alessandro Arbo, Michel LeDu, Sabine Plaud
Wittgenstein has written various feedback correct to aesthetical concerns: he has puzzled the relation among aesthetics and psychology in addition to the prestige of our norms of judgment; he has drawn philosophers' cognizance to such issues as aspect-seeing and aspect-dawning, and has introduced insights into the character of our aesthetic reactions. The exam of this wide selection of subject matters is much from being accomplished, and the aim of this booklet is to give a contribution to such final touch. It gathers either papers discussing a few of Wittgenstein's such a lot provocative and exciting statements on aesthetics, and papers bringing out their implications for artwork critic and paintings background, in addition to their importance to epistemology and to the research of human brain.
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Additional resources for Wittgenstein and Aesthetics: Perspectives and Debates
Following his reasoning, “savagery is the primitive condition of mankind, and if we would understand what 16 17 Wittgenstein (1953), § 115. Whitehead (1927-28), p. 9-10. ”18 Yet, the teleological perspective here implied is based on an aberrant analogy, whose schema is emblematically sketched by Musil in his page on the lemonyellow Chinese butterfly: since there are lemon-yellow butterflies and lemon-yellow Chinese, the butterfly is the winged, middle-European, dwarf Chinese. That butterflies have wings and Chinese do not is just a small detail.
This fallacy consists in neglecting the degree of abstraction involved when an actual entity is considered merely so far as it exemplifies certain categories of thought. ”17 Such a fallacy that in Wittgensteinian terms has to be called superstition is nothing but concepts reification, which counts as magic, as we understand reading the notes that Wittgenstein drafted as a commentary to The Golden Bough, James Frazer’s main work. In these twelve volumes, written between 1911 and 1915, Frazer dealt with magic and superstition as the leading principles in the constitution of associated human life forms.
48 To account for this affinity, it is sufficient to recall some statements from Spengler’s Introduction: “The means whereby to understand living forms is Analogy. By these means we are enabled to distinguish polarity and periodicity in the world. ”49 Wittgenstein, however, charges Spengler as he charges Frazer with not distinguishing between facts and concepts: “Spengler could be better understood if he said: I am comparing different cultural epochs with the lives of families; within a family there is a family resemblance; though you will also find a resemblance between members of different families; family resemblance differs from the other sort of resemblance in such and such ways, etc.
Wittgenstein and Aesthetics: Perspectives and Debates by Alessandro Arbo, Michel LeDu, Sabine Plaud