Posts tagged Ludwig Wittgenstein

Philosophical Tastes

This is a note from quite a while back, over at Kelly Dean Jolley’s common-place blog, which I stashed to chew on later, and which I’m chewing on a bit now. Here’s Jolley:

I’ve been thinking again about Wittgensteinian reminders, and, while I was doing so, I ran across the following from Henry James.

There are two kinds of taste, the taste for emotions of surprise and the taste for emotions of recognition.

It strikes me that much of the power of Wittgenstein’s work in PI is only available to those who have the taste for emotions of recognition. In fact, I wonder if the juxtaposition of PI 127[1] and 128[2] is not itself a juxtaposition of the two tastes: in 127 Wittgenstein engages the taste for emotions of recognition and in 128 he denies the taste for emotions of surprise.

–Kelly Dean Jolley, Reminders and a Kind of Taste
Quantum Est In Rebus Inane (March 20, 2012)

  1. [1][Philosophical Investigations § 127: The work of the philosopher consists in marshalling recollections for a particular purpose. — CJ.]
  2. [2][Philosophical Investigations § 128: If someone were to advance theses in philosophy, it would never be possible to debate them, because everyone would agree to them. — CJ]

Clarity and clarifying

A couple of notes from a couple of different conversations on being clear and becoming clear. (It’s about philosophy, I promise, not about Scientology. . .)

Me, in reply to Andy Bass and Nemo during a conversation on Wittgenstein and philosophical method (Dec. 2011):

[Quoting A.B.:] Wittgenstein’s “end” to philosophy altogether would be some way of living with, and using, language in which linguistic inconsistencies and their resulting philosophical conundrums cannot arise at all. Wittgenstein doesn’t spend much time with this notion of a final treatment. . . .

I dunno, doesn’t he? It seems like this sort of end of analysis is importantly part of the goal of the Tractatus, and the struggle against that picture is part of the important shift in PI. To live with language in such a way as to end philosophical puzzling would be to become perfectly adept as a logical grammarian — to succeed in catching and keeping the will-o’-the-wisp of logical form. But if there is no such thing to catch, or no such thing as catching it . . . .

I’m rather inclined to think that if we take seriously what Cavell (for example) has to say about the projectability of concepts — and on the late Wittgensteinian themes that Cavell is drawing on here (on the urban geography of natural language, etc.) — then I think it has to be part of the nature of a certain sort of language-game — of any language-game of the sort you could reason or explain in, say — that there could not possibly be a way of living with language that does not raise the possibility of philosophical problems. To live with a language where concepts and linguistic structures can constantly be projected into novel forms is to live with the pervasiveness of risk, doubt, misfires, mistakes, confusion, — since to acknowledge the possibility of projection just is to acknowledge the risk of failing to cotton onto the novel uses, or to shift contexts appropriately, or to recognize the interplay between the old usage and the new, or . . . .

And often we should like to be perfectly adept at these things, but (1) it seems clear that we cannot do that with any set of ex ante rules about what good language ought to look like (as the positivists seem to have thought); (2) it also seems clear that we cannot do that with any set of ex ante principles about what good linguistic therapy ought to look like (as AoTLP[1] hinting); and (3) setting all that aside, it’s not clear that we possibly could count as being perfectly adept by any means within us (what if the conversational context is not something that’s always up to us, but depends on future contingents about what others will play or non-play? what if it involves external objects, like the meter-stick in Paris or the chemical structure of water, which may not be epistemically transparent to us? etc.). And it’s not even clear if this, were it possible, would always be desirable (what if projection serves a tentative or exploratory purpose, not just an analytical or declaratory one? not to allow a certain degree of risky or even confused behavior may simply be to close us off from some funky new neighborhoods that language might otherwise work itself into. . . .).

. . .

[Quoting Nemo:] After a conversation with Socrates, one would say to himself, I don’t know what t’m talking about! I don’t know what [the thing] really means. I’ve got a problem. With Wittgenstein, I know it now! Avoid logical fallacies and speak proper grammar, there is no problem at all.

Well, I think that the bit after I know it now! is for L.W. much easier said than done, but it’s the doing that he’s interested in. The AoTLP[1] seems to have some faith that there is a state you can be in where you will become perfectly adept in the avoiding and in the grammaticalizing — a state that can only be really understood by reaching it, but which will disclose itself to you, irresistibly when and to the extent that you reach it. (In many ways it ends up sounding something like what Socrates is portrayed as teaching Meno about the unforgetting of true knowledge in the second third of the dialogue.) Now, as I understand the later L.W., that faith in the End of Analysis is one of the things that really does change and come under the later L.W.’s criticism. In some ways this makes his project seem less Socratic (or Platonic, whichever), since it means a much less idealized picture of what logical understanding amounts to; in other ways, it makes it seem more Socratic, since it means that there is no end of philosophy to aim at — it’s not a matter of reaching some perfected state of clarity, only an ongoing process of recognizing confusion and clarifying. . . . (In PI, Wittgenstein says that the real discovery is the one that allows you to stop doing philosophy when you want to — but of course stopping it is rather different from finishing it.)

— Charles Johnson (Dec. 2011), comments re: Wittgenstein on Progress in Philosophy

Kelly Dean Jolley, on Clarity, Combative Clarity (Dec. 2011):

I am Wittgensteinian enough, or Kierkegaardian enough, or Marcelian enough to believe that what philosophy aims for is clarity. But one is always becoming clear; one is never finally clear.

Clarity. Clarity is internal to philosophical investigation: it is not a separable result, isolable from the activity that realizes it and such that it confers value onto the activity because of a value it has independent of that activity. If a result is separable, isolable and independent, then it has a career cut off in an important way from the process that realized it. Indeed, in one sense its history only begins after the process that realizes it is finished. The result can be seized and put to purposes quite different from anything that those involved in the process of realizing it intended or foresaw.

But clarity is valuable because of the process of philosophical investigation that realizes it. And there is no clarity in isolation from the philosophical investigation that realizes it. Philosophical investigation does not realize a clarity that someone could hope to enjoy who is no longer involved in philosophical investigation. (I got clear, you see; and now I am enjoying my clarity, although, thank God!, I am no longer involved in the travails of philosophical investigation.) –Kierkegaard’s Climacus talks about the true Christian, the subjective Christian, as combatively certain of Christianity, as certain in a way that requires that the certainty be daily won anew. Eternal certainty (his contrast-term) is not something that the subjective Christian can enjoy on this side of the blue. Similarly, the clarity realized by philosophical investigation is combative clarity, not eternal clarity.

— Kelly Dean Jolley (Dec. 2011), on Clarity, Combative Clarity, in Quantum Est In Rebus Inane

  1. [1]The Author of the Tractatus Logico-Philosophicus, the later Wittgenstein’s way of referring to his earlier views when he wished to criticize them.

Over My Shoulder #42: Kelly Dean Jolley on Augustine and the longing for a philosophical answer. From The Concept ‘Horse’ Paradox and Wittgensteinian Conceptual Investigations

Here’s the rules:

  1. Pick a quote of one or more paragraphs from something you’ve read, in print, over the course of the past week. (It should be something you’ve actually read, and not something that you’ve read a page of just in order to be able to post your favorite quote.)

  2. Avoid commentary above and beyond a couple sentences, more as context-setting or a sort of caption for the text than as a discussion.

  3. Quoting a passage doesn’t entail endorsement of what’s said in it. You may agree or you may not. Whether you do isn’t really the point of the exercise anyway.

Here’s the quote. This is a passage from the penultimate chapter of The Concept Horse Paradox and Wittgensteinian Conceptual Investigations, by my teacher, Kelly Dean Jolley. Jolley has just finished a long examination of post-Kerry responses to Gottlob Frege’s Concept Horse Paradox (CHP). He finds that they fail to do what they set out to do — indeed, fail to do much of anything at all — and that they tend to fail in a very peculiar way, by trying to run up against a frustration in language with a host of new terminology and notational enhancements for English prose, which are supposed to accomplish something, to express something, that heretofore English prose was unable to express. Jolley considers what it is about the philosophical voice, and the philosophical mood, that prompts this kind of graphical anzurennen. Thus:

Consider, in closing, Augustine’s famous question, What is time?, and his famous recoiling upon his own question.

There was, therefore, not time before you [God] made anything, since time itself is something you made. No time could be eternal along with you, since you are always there; and if time were always, it would not be time. Then what is time? Who can give that a brief or easy answer? Who can even form a conception of it to be put into words? Yet what do we mention more often or familiarly in our conversation than time? We must therefore know what we are talking about when we refer to it, or when we hear someone else doing so. But what, exactly, is that? I know what it is if no one asks, but if anyone does, then I cannot explain it.

Augustine asks a question. And asked, he cannot answer. Part of the reason he cannot answer is that he longs for a certain kind of answer: a brief and easy one. But he has no brief and easy answer. Worse still, he doesn’t even have a conceptual draft on such an answer; he cannot even form a conception of time that he can (begin to) articulate. Augustine takes his confession of inarticulateness to be genuine confession: he’s searched himself before God and found no conception of time that he can (begin to) articulate. But Augustine cannot quite rest easy in his confession–after all, he must confess further that he is guilty of all sorts of temporal words and deeds. He has talked and been talked to of events that took little time, a long time or no time at all. He has judged things temporary and permanent. He has observed the hours; he has worshipped or mourned or fasted on days; he has battled the demon of the noontide. In the evening, in the morning, and at noonday he prayed, and that instantly. He has wished time away and hoped for time back. He has arrived early, promptly and late. He is a practical horologist. Even more, he has confessed and is confessing by biographizing, by looking into his own history: … [You] made me (but not my memory) begin in time …. In time I began to smile …, etc. So the first confession’s genuineness sits uncomfortably beside what must further be confessed. The tension is captured in his words: I know what it is if no one asks; but if anyone does, then I cannot explain it.

Augustine’s difficulty is that the anyone who might ask includes himself. When he asks of himself, he can give no answer. When he isn’t asking, he talks and does in ways that seem to him to require that he has an answer within him; we might say that when he isn’t asking, he seems to live an answer to the question.

And so, I think, he does. But he longs for a certain kind of answer, one that, though he cannot provide it, determines the space, as it were, into which an answer should fit. It determines the space that his knowledge should occupy That space is wrongly shaped for a life, for a lived answer to the question. What he does is the answer to his question, but he cannot see how to see it as the answer. And isn’t something of the same the problem for the respondents to the CHP?

— Kelly Dean Jolley (2007). The Concept Horse Paradox and Wittgensteinian Conceptual Investigations. Ashgate: ISBN #0754660451. 77–78.

The Passive-Aggressive Freedom-Lover’s Distributed Book Club #3: Stanley Cavell, Foreword: An Audience for Philosophy, from Must we mean what we say? xxi-xlii

As I was saying the other day, I’ve been thinking that my readers might be interested in thinking about some ordinary language philosophy, and about some of the topics that Stanley Cavell raises in his masterful collection of essays, Must we mean what we say? The book is published by Cambridge University Press. I thought you might enjoy thinking about some material which I’ve quoted here for educational purposes under principles of fair use, such as Cavell’s fascinating and puzzling forward, in which he addresses the question, What is the audience for philosophy? Is there one? To whom or to what do we address ourselves when we speak in a philosophic mode, and what can that tell us — about philosophy, and about us as would-be teachers or practitioners of it?

Foreword: An Audience for Philosophy

If the essays which follow do not compose a book, collecting resonance from one another, nothing I can say in introducing them will alter that fact. The relations among them are no less complex than the complexities I have sought to trace within the essays themselves; and any concept I would wish to use in characterizing their relations is either itself already at work within the essays, so far as I have been able to put it to work, or else it would require the working of another essay to do what I would want with it. The surface thematic overlappings among the essays are, I think, sometimes surprising, or surprisingly numerous. Because it would be tiresome to list them here, I have made an index of the themes I find, and found as I wrote, to be of guiding importance. Certainly I do not by this mean to suggest that I have fully treated any one of these themes; a number of them are just glanced at. But I have in each case wished that the place I have made for a theme’s appearance provides data for further investigation of it.

Although various portions or drafts of separate essays were being written during essentially the same period, I have as far as possible arranged them chronologically acording to their date of completion. It will be said that two of them–those on Endgame and on King Lear–are pieces of literary criticism, or at best applications of philosophy, while the remainder are (at least closer to being) straight philosophy. I wish to deny this, but to deny it I would have to use the notions of philosophy and of literature and of criticism, and the denial would be empty so far as those notions are themselves unexamined and so far as the impulse to assert such distinctions, which in certain moods I share, remains unaccounted for. Its account must include the obvious fact that these subjects, as I conceive of them, do resemble one another. One line of resemblance is marked where, in the essay on King Lear, I suggest a sense in which that play could be called philosophical drama and where I characterize a philosophical criticism; another line is projected at the points at which I note that each philosophy will produce terms of criticism directed against other philosophies, or against common sense, which are specific to that philosophy, and hence defining for it. In wishing to deny that some of these essays are philosophical and others not, I do not deny that there are differences among them, and differences between philosophy and literary criticism; I am suggesting that we do not understand these differences. At various moments I am led to emphasize distinctions between philosophy and various of its competitors, various interests and commitments and tastes with which, at various moments in history, philosophy was confusible–e.g., between philosophy and science, and art, and theology, and logic.

If I deny a distinction, it is the still fashionable distinction between philosohy and meta-philosophy, the philosophy of philosophy. The remarks I make about philosophy (for example, about certain of its differences from other subjects) are, where accurate and useful, nothing more or less than philosophical remarks, on a par with remarks I make about acknowledgment or about mistakes or about metaphor. I would regard this fact–that philosophy is one of its own normal topics–as in turn defining for the subject, for what I wish philosophy to do. But someone who thinks philosophy is a form of science may not accept that definitio, because his picture is of a difference between, say, speaking about physics and doing physics. And this may be not only a special view of philosophy, it may be a partial view of science; because certain ways in which certain persons talk about science are a part of the teaching of the science, and the ways in which the science is taught and learned may be taken as essential to an understanding of what that science is.

I do assert a distinction throughout these essays which, because it may seem either controversial or trivial, I want to call attention to from the beginning–a distinction between the modern and the traditional, in philosophy and out. My claim is not that all contemporary philosophy which is good is modern; but the various discussions about the modern I am led to in the course of these essays are the best I can offer in explanation of the way I have written, or the way I would wish to write. The essential fact of (what I refer to as) the modern lies in the relation between the present practice of an enterprise and the history of that enterprise, in the fact that this relation has become problematic. Innovation in philosophy has characteristically gone together with a repudiation–a specifically cast repudiation–of most of the history of the subject. But in the later Wittgenstein (and, I would now add, in Heidegger’s Being and Time) the repudiation of the past has a transformed significance, as though containing the consciousness that history will not go away, except through our perfect acknowledgment of it (in particular, our acknowledgment that it is not past), and that one’s own practice and ambition can be identified only against the continuous experience of the past. (This new significance in philosophical repudiation itself has a history. Its most obvious precursor is Hegel, but it begins, I believe, in Kant. For it is in Kant that one finds an explicit recognition that the terms in which the past is criticized are specific to one’s own position, and require justification from within that position. A clear instance of such a Kantian term of criticism is his characterization of an opposed Idealism as making the world empirically ideal and transcendentally real; another is his diagnosis of dialectical illusion.) But the past does not in this context refer simply to the historical past; it refers to one’s own past, to what is past, or what has passed, within oneself. One could say that in a modernist situation past loses its temporal accent and means anything not present. Meaning what one says becomes a matter of making one’s sense present to oneself. This is the way I understand Wittgenstein’s havingdescribed his later philosophy as an effort to bring words back to their everyday use (Philosophical Investigations, §116; my emphasis), as though the words we use in philosophy, in any reflection about our concerns, are away. This is why Wittgenstein’s interlocutors, when he writes well, when he is philosophically just, express thoughts which strike us as at once familiar and foreign, like temptations. (Heidegger’s consciousness that our deepest task, as philosophers and as men, is one of getting back to a sense of words and world from which we are now away, is an intimate point of similarity with Wittgenstein.)

These reflections will perhaps seem uncongenial to many of my professional colleagues, but they are meant to collect data which most of us, I believe, have noticed, but perhaps have not connected, or not taken to be potentially philosophical. Take, for example, the fact that the isolated analytical article is the common form of philosophical expression now, in the English speaking world of philosophy; something reflected in the fact that the common, and best, form of philosophy textbook is the assemblage of articles around individual topics. This is often interpreted as symptomatic of philosophy’s withdrawal from its cultural responibilities. The trouble with such an idea is that it occurs to a person who imagines himself certain of his culture’s needs, and certain of his capacity to supply them on demand, and ignorant of our cultural situation–in which each major form of expression (say painting and music and philosophy) has, where serious, taken upon itself the characteristic cultural responsibility of preserving itself against its culture, against its own past accomplishments, which have helped to inform, and to distort, present culture; past accomplishments which are used as names by those incapable of contributing to the present, against those who would take those accomplishments as setting the tasks of the present, or setting the terms in which present activity has its meaning and acquires its standards.

Analytical philosophy can, alternatively, be interpreted as symptomatic of philosophy’s finally coming of age, or accepting its age, assimilating itself to the form in which original scientific results are made known. The trouble with this idea is that these articles are not accepted the way scientific papers are; they are not felt to embody results which every member of the profession can then build from. On the contary, it seems to me commonly assumed among the serious philosophers I know that when they look into a new article they will find not merely a number of more or less annoying errors, but that they will find the whole effort fundamentally wrong, in sensibility or method or claim. Even when it is good–that is, when it contains one interesting or useful idea–the interest or usefulness cannot simply be taken over as it stands into one’s own thought, but will require independent development or justification from within one’s own procedures. It often happens that what makes an article or passage famous is its enunciation of a thesis which the profession is fully prepared to annihilate. The refuting of Mill on desirable, or Moore on indefinable, or Wittgenstein on private language, have become minor industries, established more than one living. These can be disheartening facts, especially among the young who are entering the profession and are still deciding whether it can support life–as though the profession as a whole has forgotten how to praise, or forgotten its value. (In emphasizing that criticism has been the life of philosophy from its beginning, I do not wish to camouflage what is genuinely disheartening about its present. I mean merely to remember that criticism need not be uncomprehending, nor always entered out of enmity.) It is hard to convey, to anyone who has not experienced it, how pervasive this malaise has become. For it controls one’s response to one’s own past work as well as to the work of others, and it applies not merely to chunky articles, but to each assertion one hears or makes.

The figure of Socrates now haunts contemporary philosophical practice and conscience more poignantly than ever–the pure figure motivated to philosophy only by the assertions of others, himself making none; the philosopher who did not need to write. I should think every philosopher now has at least one philosophical companion whose philosophical ability and accomplishment he has the highest regard for, who seems unable to write philosophy. Were such a person content with silence he would merely be the latest instance of a figure always possible in philosophy, possible indeed nowhere else. (It would make no sense to speak of someone as a gifted novelist who had never written a novel; nor of someone as a scientist who had made no contribution to science. In the case of the scientist, the contribution need not be his own writing; but one could say that he must affect what his field writes. His contribution, that is, may be oral, but it must affect a tradition which is essentially not oral; this suggests that such contributions must be exceptional. It indicates further that writing plays differing roles in different enterprises, even that writing means something different, or has a different inflection, in contexts like writing a novel, writing a fugue, writing a report, writing (up) an experiment, writing (down) a proof. If silence is always a threat in philosophy, it is also its highest promise.) But one finds instead various contraries of contentment, perhaps a tendency, more or less contained, to cynicism or to despair about the value of writing or of philosophy altogether–discontents often not sufficiently unambiguous, or not showing early enough, to force or to permit a break with the field. Philosophy inspires much unhappy love.

If these are facts of philosophical practice now, they must have a sociological-historical explanation; and what needs to be explained is what these facts point to, that the writing of philosophy is difficult in a new way. It is the difficulty modern philosophy shares with the modern arts (and, for that matter, with modern theology; and, for all I know, with modern physics), a difficulty broached, or reflected, in the nineteenth-century’s radical breaking of tradition within the several arts; a moment epitomized by Marx’s remark that … the criticism of religion is in the main complete … and that … the task of history, once the world beyond the truth has disappeared, is to establish the truth of this world … (Contribution to the Critique of Hegel’s Philosophy of Right, Introduction). This is the beginning of what I have called the modern, characterizing it as a moment in which history and its conventions can no longer be taken for granted; the time in which music and painting and poetry (like nations) have to define themselves against their pasts; the beginning of the moment in which each of the arts becomes its own subject, as if its immediate artistic task is to establish its own existence. The new difficulty which comes to light in the modernist situation is that of maintaining one’s belief in one’s own enterprise, for the past and the present become problematic together. I believe that philosophy shares the modernist difficulty now everywhere evident in the major arts, the difficulty of making one’s present effort become a part of the present history of the enterprise to which one has committed one’s mind, such as it is. (Modernizers, bent merely on newness, do not have history as a problem, that is, as a commitment. The conflict between modernizers and modernists is the immediate topic of the two essays on music–numbers VII and VIII.) I might express my particular sense of indebtedness to the teaching of Austin and to the practice of Wittgenstein by saying that it is from them that I learned of the possibility of making my difficulties about philosophy into topics within philosophy itself–so that, for example, my doubts about the relevance of philosophy now, its apparent irrelevance to the motives which brought me to the subject in the first place, were no longer simply obstacles to the philosophical impulse which had to be removed before philosophy could begin, hence motives for withdrawing from the enterprise. It was now possible to investigate philosophically the very topic of irrelevance, and therewith the subject of philosophy itself; it is characteristic of philosophy that from time to time it appear–that from time to time it be–irrelevant to one’s concerns, or incredible in itself; just as it is characteristic that from time to time it be inescapable. No doubt there is a danger of evasion in this spiralling self-consciousness; perhaps one should indeed search for more congenial work. Just as there is the danger of excusing poor writing in insisting upon the complexities of consciousness one is at each moment attempting to record, or to acknowledge. –Am I talking only about a condition within America? If so, it is said in the spirit in which a certain kind of American has usually spoken of his country’s release rom the past: out of a sense of disappointment in struggle with vistas of peculiar promise. And as usual, it is the expression of shock in finding that one’s mind is not, and is, European; which in practice means (and in philosophical practice means emphatically) English or German. –If others do not share these doubts, or find these dangers, I certainly have no wish to implicate them.

* *

The topics of the modern, of the philosophy of philosophy, and of the form of philosophical writing, come together in the question: What is the audience of philosophy? For the answer to this question will contribute to the answer to the questions: What is philosophy? How is it to be written? In case a philosopher pretends indifference to this question, or not recognize that he has an answer to it, I should note that this question intersects the question: What is the teaching of philosophy? Not, of course, that this question is likely to seem more attractive to those responsible for teaching it. On the contrary, like their pressed colleagues in other fields, professors of philosophy are likely to regard their teaching obligations as burdens, certainly as distant seconds in importance to their own work. Whatever the reason for this state of affairs, it has a particular pertinence for the philosopher. A teacher of literature, is, say, a professor of English, and he can say so; a professor of anthropology is an anthropologist, and he can say so. But is a professor of philosophy a philosopher? And to whom can he say so? One often says instead, asked what it is one does, that one teaches philosophy. And that is the problem. Does one teach philosophy? And when one is gripped by that question, one is really asking: Can philosophy be taught? Who is in a position to speak for philosophy?Such questions express that difficulty I referred to a moment ago as one of maintainining one’s belief in one’s own enterprise. (Hegel, I am told, said that he was the last professor of philosophy. I think I know what he would have meant–that he was the last man to feel that he could speak evenly about every way in which the philosophical impulse has found epression, the last with the natural conviction that his own work was the living present of philosophy’s history, able to take that history for granted. And that would mean that philosophy, as it has been known, is past. The mention of Hegel here reminds me that the sorts of problems I have spoken of in connection with the teaching of philosophy more familiarly arise in thinking about the history of philosophy, about whether anyone but a philosopher can write or know its history, and about whether a philosopher could allow himself to do so.)

When, in Austin at Criticism (Essay IV), I complain that Austin never described his procedures accurately and circumstantially, I am in effect complaining simultaneously of a lack in his philosophizing and of a failure in his teaching. These complaints have their proper weight only against the recognition of how powerful a teacher he was; for it was in part because Austin was devoted to teaching, according to a particular picture ofwhat teaching can be, or should be, that he avoided certain ranges of what the teaching of philosophy perhaps must be–the personal assault upon intellectual complacency, the private evaluation of intellectual conscience. (This range of teaching is not confined to philosophy, though its proportions and placement will vary from subject to subject. This is what I am talking about in the opening of the essay on King Lear, in pointing to the New Critics’ concentration on the teachable aspects of the poetry.) A major motive for wishing to leave the field of philosophy, for wishing relief from it, from one’s periodic revulsions from it, would be to find something which could be taught more conveniently, a field in which it was not part of one’s task to vie with one’s students, nor to risk misleading them so profoundly. Wittgenstein, though he swiftly resigned his appointment as Professor, was, as I read him, unofficially readier for these requirements, and like every great teacher he would have distrusted his right, or the necessity, to impose them. (The great teacher invariably claims not to want followers, i.e., imitators. His problem is that he is never more seductive than at those moments of rejection.) I find that his Philosophical Investigations often fails to make clear the particular way in which his examples and precepts are to lead to particular, concrete exercises and answers, for all his emphasis upon this aspect of philosophy. At the same time, his book is one of the great works about instruction–the equal, in this regard, of Rousseau’s Émile and of Kierkegaard’s Philosophical Fragments.

Because such writing as Wittgenstein’s and such practice as Austin’s strike certain minds as conservative, and because such minds are apt to be over-confident in the faith that contrasts, like conservative vs. liberal, and liberal vs. radical, helpfully explain the behavior of the world and clear the mind for steady action, it is worth noting that these teachers thought of their work as revolutionary–not merely because what they did was new (something which can be overrated or overprized) but because they also thought it plain enough and immediately fruitful enough to establish a new common practice in thinking, and open to talent regardless of its standing within the old intellectual orders. This is another guise of the issue of the modern. I mention it again here because those of us who share, or credit, Wittgenstein’s and Austin’s sense of their revolutionary tasks are responding (as part of the experience of their work in making problematic the relation of philosophy to its tradition) to the concern and implication of their work for correct instruction. (There is no revolutionary social vision which does not include a new vision of education; and contrariwise.) This, together with the fact that their philosophical procedures are designed to bring us to a consciousness of the words we must have, and hence of the lives have, represents for me a recognizable version of the wish to establish the truth of this world. But then wherever there really is a love of wisdom–or call it the passion for truth–it is inherently, if usually ineffectively, revolutionary; because it is the same as a hatred of the falseness in one’s character and of the needless and unnatural compromises in one’s institutions.

When, in what follows, I feel pressed by the question of my right to speak for philosophy, I sometimes suggest that I am merely speaking for myself, and sometimes I suggest that philosophy is not mine at all–its results are true for every man or else they are worthless. Are these suggestions both right, or are they evasions? They express an ambivalence about the relevance or importance of philosophy–one might say, about its possession–which is also one of philosophy’s characteristic features. I have recently noticed a bit of philosophical literary practice which seems to betray this ambivalence. On half a dozen occasions over a period of a few months I found on philosopher or another referring to something called Horatio’s philosophy or Horatio’s view of philosophy, as though Hamlet’s strangely welcomed discovery that

There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy.

constitutes a crack at Horatio rather than a manic release from philosophy (and from reasonableness) as a whole. (The generalizing non-possessive your is common enough in Hamlet’s way of speaking, and there is no evidence that Horatio’s view of the world is distinctive.) Perhaps the reason for this misreading is that philosophers have become threatened by an idea that philosophy has its limitations or impotencies. But I think it also expresses a legitimate confusion about the source or possession of philosophy altogether, as though half believing and half fearing that its natural state is one of private persuasion. I call this confusion legitimate because it isn’t as though the philosopher had some automatic or special assurance that his words are those of and for other men, nor even that any particular arrival of his words ought to be accepted by others. His examples and interpretations have, and are meant to have, the weight an ordinary man will give them; and he is himself speaking as an ordinary man, so that if he is wrong in his claims he must allow himself to be convinced in the ways any man thinking will be, or will not be. –Who is to say whether a man speaks for all men?

Why are we so bullied by such a question? Do we imagine that if it has a sound answer the answer must be obvious or immediate? But it is no easier to say who speaks for all men than it is to speak for all men. And why should that be easier than knowing whether a man speaks for me? It is no easier than knowing oneself, nad no less subject to distortion and spiritlessness. If philophy is esoteric, that is not because a few men guard its knowledg, but because most men guard themselves against it.

It is tautological that art has, is made to have, an audience, however small or special. The ways in which it sometimes hides from its audience, or baffles it, only confirms this. It could be said of science, on the other hand, that it has no audience at all. No one can share its significance who does not produce work of the same kind. The standards of performance are institutionalized; it is not up to the individual listener to decide whether, when the work meets the canons of the institution, he will accept it–unless he undertakes to alter those canons themselves. This suggests why science can be popularized and art not (or not in that way), and why there can be people called critics of art but none called critics of science. I might summarize this by saying that academic art is (with notable exceptions) bad art, whereas academic science is–just science. (It is hardly an accident that creative scientists are on the whole at home in a university and that creative artists on the whole are not.) Now, what is academic philosophy? It seems significant that the questions, What is the audience of philosophy? Must it have one? If so, what is it to gain from it?, have no obvious answers.

When you wish to make serious art popular what you are wishing is to widen the audience for the genuine article. Is this what someone wants who wants to widen the audience for philosophy by writing summaries or descriptions of philosophical works? Or is he, as in the case of popular science, providing simplifications which are more or less useful and faithful substitutes for the original work? Neither of these ideas makes good sense of philosophy. I think someone who believes in popular, or in popularizing, philosophy (as differentiated from someone in an open business venture who finds profit in excerpting and outlining anything in demand) believes that the ordinary man stands in relation to serious philosophy as, say, the ordinary believer stands in relation to serious theology–that he cannot understand it in its own terms but that it is nevertheless good for him to know its results, in some form or other. What reason is there to believe this? There is every reason to believe, on the contrary, that this is the late version of one of philosophy’s most ancient betrayals–the effort to use philosophy’s name to put a front on beliefs rather than to face the source of the assumption, or of emptiness, which actually maintains them. Those who guard themselves from philosophy show a healthier respect for it than those who are certain they know its results and know to whom they apply. For when philosophy is called for one cannot know beforehand where it will end. That is why Plato, as is familiar, at the beginning of the Republic allows the good old man to leave (to see to the sacrifice) before Socrates releases his doubts; and why, recalling that moment, Nietzsche’s Zarathustra leaves the old man (the old saint) he first encounters on his descent back to man, without relating his sickening tidings. Philosophy must be useful or it is harmful. These old men have no need of it, not necessarily because they are old, but because their passion for their lives is at one with their lives; either, as in the case of Cephalus, because his private passion is well spent and he is without rancor; or because, as in the case of the old forest creature, his passion remains in control of his old God, who was worthy of it. The advantage of their age is that their sincerity is backed by the faithfulness of a long life. Otherwise, where sincerity asserts itself, it calls for testing. I do not say that everyone has the passion or the knack or the agility to subject himself to philosophical test; I say merely that someone can call himself a philosopher, and his book philosophical, who has not subjected himself to it.

My purpose is to make such facts into opportunities for investigation rather than causes for despair. The question of philosophy’s audience is born with philosophy itself. When Socrates learned that the Oracle had said no man is wiser than Socrates, he interpreted this to mean, we are told, that he knew that he did not know. And we are likely to take this as a bit of faded irony or as a stuffy humility. What I take Socrates to have seen is that, about the questions which were causing him wonder and hope and confusion and pain, he knew that he did not know what no man can know, and that any man could learn what he wanted to learn. No man is in any better position for knowing it than any other man–unless wanting to know is a special position. And this discovery about himself is the same as the discovery of philosophy, when it is the effort to find answers, and permit questions, which nobody knows the way to nor the answer to any better than you yourself. Then what makes it relevant to know, worth knowing? But relevance and worth may not be the point. The effort is irrelevant and worthless until it becomes necessary to you to know such things. There is the audience of philosophy; but there also, while it lasts, is its performance.

–Stanley Cavell, Must we mean what we say? (Cambridge University Press, 1969/2002), xxi–xlii.

Philosophical progress

A couple of notes are in order about new philosophical material on the web. First, I’ve put up some new new material at Philosophy, et cetera; and second, I’ve put up some new old material at the Fair Use Repository.

First, my new new material: Richard Chappell of Philosophy, et cetera generously invited me to contribute some guest posts while he was away at a conference. Here’s the results, such as they are:

Second, there’s quite a bit of new old philosophical material now available at the Fair Use Repository. One of my initial projects for the Fair Use Repository was to increase the availability and visibility of G. E. Moore’s philosophical writing; beginning with a freely available transcription of Principia Ethica (1903) and, after half a year and several atrocious puns on G. E. Moore’s last name, moving on to two other notable works on ethics. The scriptorium has been busy since then, too; the public domain Mooreana now available to the free world now includes:

There’s also lots of new old stuff to peruse besides Moore. Here’s a quick attempt at a break-down:

  1. Bertrand Russell, The Elements of Ethics (1910) is available in full. The essay attempts to sketch out the outlines of a theoretical ethics, based on by Russell’s reading (sometimes his misreading, but what else is new?) of Principia Ethica.

  2. Bertrand Russell, The Principles of Mathematics (1903): Russell’s first great labor towards a logicist account of mathematics. As of today, Preface, Chapter I: Definition of Pure Mathematics, Chapter II: Symbolic Logic, and Appendix B, Russell’s first full statement of the Theory of Types, are available in full online.

  3. Ludwig Wittgenstein, review of of Professor Coffey’s The Science of Logic (1913): the first public record of Wittgenstein’s philosophical views (and one of only three works on philosophy published in his lifetime); this is a merciless review of a logic textbook, written at the invitation of The Cambridge Review in late 1912 and published in early 1913, while Wittgenstein was still an undergraduate at Cambridge. The original (which has apparently not survived) was written in German, and then translated into English by Wittgenstein, with the help of his friend David Pinsent.

  4. T. H. Green, Prolegomena to Ethics (1884): transcriptions of the Analytical Table of Contents (which summarizes the argument of the entire book), the Introduction, the (enormous) first chapter, and Book III Chapter I are now available online.

  5. Lewis Carroll, What the Tortoise said to Achilles (1894) and A Logical Paradox (1895): Lewis Carroll published two articles in the philosophical journal Mind on logical paradoxes (interestingly, he published them as Lewis Carroll, rather than as Charles Dodgson). One of the articles, What the Tortoise said to Achilles, is discussed vigorously to this day. The other, A Logical Paradox was a hot topic in philosophical logic for about 10 years or so after its publication; today it’s almost unknown because people took it for granted that material implication had solved the problem. (Try reading it and see if you feel any intuitive pull towards the paradox.) Still, if there are good reasons to doubt that material implication does a good job of capturing the meaning of conditional statements, there may also be good reasons to start trying to get into the puzzle again. In any case, both articles are now available online.

  6. William James, Essays in Radical Empiricism (1912): James’s elaboration and defense of radical empiricism, the doctrine of a world of pure experience. Ralph Barton Perry’s editorial Preface and James’s first essay, Does Consciousness Exist?, are available in full online.

There’s more where that from. Stay tuned!