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.

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)

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?’.

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.

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)

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)