A Conference viewed Sub Specie Aeternitatis

The third day of the Wittgenstein conference was terrific.

I missed the first paper due to sleeping in a little late and then having to prepare for leaving town etc. It was about "Count Eberhard's Hawthorn", which is the poem of which Wittgenstein, in a letter to Engelmann, famously said "Uhland’s poem is really magnificent. And this is how it is: when one does not attempt to utter the unutterable, then nothing is lost. Rather, the unutterable is, – unutterably – contained in what is uttered." I would've liked to have heard the discussion of this, but I definitely needed the extra sleep for the drive home at the end of the day. If anyone reading this was at this part of the conference, I'd be interested to hear how it went.

The second paper discussed was a piece Michael Fried has published in Critical Inquiry vol. 33 no. 3, "Jeff Wall, Wittgenstein, and the Everyday". Fried is fantastically interesting to see speak, and his passion for this material is infectious. I know nothing about art history or art criticism, but here's some of what I took away from his talk:

The previous day of the conference, someone had mentioned that Gilbert Ryle and Wittgenstein had bonded over their love of movies. Wittgenstein claimed that there could not be a great British movie, and Ryle conceded that there had not yet been one (at this point Conant interrupted "And the evidence has mounted ever since!"). Wittgenstein blamed this on British actors being too theatrical: even in a movie, you could tell they were acting as if they were in front of an audience, etc. Fried said that a similar sort of worry had struck Diderot in the 18th century, that stage-acting was too manifestly stage-acting to really have the sort of impact he wanted it to have. So Diderot introduced the dispositif of the "dramatic tableau", basically an invisible "fourth wall" of the stage, with the actors acting as if there was nothing outside of the walls of the stage (while still being conscious of themselves as acting, and so not having this hinder their ability to project to the back of the room etc.) (I am sure my presentation of this is woefully inadequate, but I'm out of my depth here.) In this way you can portray "ordinary" life on the stage without it being obtrusively theatrical: you can put ordinary happenings in front of an audience and have them seem ordinary, not staged. But this isn't quite the right way to put it: ordinary events in life are not seen in this way (not usually), so the ordinary happenings which are seen "as ordinary" on the stage are in fact seen in a way different than how they would ordinarily be seen. To get the audience to see the ordinary as the ordinary, you have to give it to them on a stage which they don't notice. Fried also related this to the photography of Jeff Wall, an artist & friend of his, in particular his photo of Adrian Walker, where you see Walker absorbed in his work, but can also see both his sketch of a hand and the model he's sketching from. Many of the works Fried discusses in his paper are striking because in them we see figures totally absorbed in what they're doing, but (says Fried) before Wall this was not thematized, but merely taken advantage of: every decade or so, an artist would stumble upon the idea of depicting someone totally absorbed in what they were doing, and this would amaze everyone, and then people would get tired of it and forget about it until someone else discovered it a little later. In Wall's Adrian Walker photo, Wall both takes advantage of the aesthetic appeal of absorption and shows us an artist copying something, thus making us realize that we are not seeing the everyday, but an artificial copy of it. (I suspect that this paragraph is worse than a freshman Art History major could write. Fried's article is good.)

Fried has been a friend of Stanley Cavell's for years, and it was through Cavell that he became interested in Wittgenstein. Fried stressed that he is "not a philosopher, and couldn't do philosophy", but that Wittgenstein (Cavell's Wittgenstein) was still hugely important for him and his work. Fried said that while he was working on his Diderot book he wished that Diderot and Wittgenstein could've met each other, somehow -- "and then when I read this passage from Culture & Value, I realized that they had!" -- here Fried proceeded to read the following passage C&V 6e-7e, from 22 August 1930. I wish someone'd been filming it, his reading was so animated; he noted and emphasized each punctuation mark with little hand-gestures. Delightful. Anyway, the passage, as he has it in his paper:

Engelmann [Paul Engelmann,Wittgenstein’s close friend and faithful
correspondent] told me that when he rummages round at home in a drawer full of his own manuscripts, they strike him as so glorious that he thinks they would be worth presenting to other people. (He said it’s the same when he is reading through letters from his dead relations.) But when he imagines a selection of them published he said the whole business loses its charm & value & becomes impossible. I said this case was like the following one: Nothing could be more remarkable than seeing someone who thinks himself unobserved engaged in some quite simple everyday activity. Let’s imagine a theatre, the curtain goes up & we see someone alone in his room walking up and down, lighting a cigarette, seating himself etc. so that suddenly we are observing a human being from outside in a way that ordinarily we can never observe ourselves; as if we were watching a chapter from a biography with our own eyes,—surely this would be at once uncanny and wonderful. More wonderful than anything a playwright could cause to be acted or spoken on the stage.We should be seeing life itself.—But then we do see this every day & it makes not the slightest impression on us! True enough, but we do not see it from that point of view.—Similarly when E. looks at his writings and finds them splendid (even though he would not care to publish any of the pieces individually), he is seeing his life as God’s work of art, & as such it is certainly worth contemplating, as is every life & everything whatever. But only the artist can represent the individual thing [das Einzelne] so that it appears to us as a work of art; those manuscripts rightly lose their value if we contemplate them singly & in any case without prejudice, i.e. without being enthusiastic about them in advance. The work of art compels us—as one might say—to see it in the right perspective, but without art the object [der Gegenstand] is a piece of nature like any other & the fact that we may exalt it through our enthusiasm does not give anyone the right to display it to us. (I am always reminded of one of those insipid photographs of a piece of scenery which is interesting to the person who took it because he was there himself, experienced something, but which a third party looks at with justifiable coldness; insofar as it is ever justifiable to look at something with coldness.[)]
But now it seems to me too that besides the work of the artist there is another through which the world may be captured sub specie æterni. It is—as I believe—the way of thought which as it were flies above the world and leaves it the way it is, contemplating it from above in its flight.

Fried seems to be entirely right to connect the Diderotian tableau, his theme of absorption, and this passage: Wittgenstein's imaginary scenario about a theater is pretty much what Diderot wanted. And then the final lines connect all of this back with the Tractatus and the 1916 Notebooks. Lot of stuff going on here.

One thing to note: the passage I underlined is italicized in Fried's paper. Joachim Schulte noted that this was a place where "Culture & Value" had an unfortunate critical apparatus: the passage is underlined with a squiggle in the manuscript, but C&V has it underlined normally (and then Fried converted all the underlinings into italics). But squiggly underlines are how Wittgenstein marked words he wasn't sure about. So when Wittgenstein says "the work of art compels us to see it in the right perspective", "right" is a word that's not quite right, here.

Another thing to note: Fried thinks the shift from das Einzelne to der Gegestand is significant: art makes us see an ordinary Gegenstand as something Einzelne. This fits very well with the October 7 1916 Notebooks passage:

The work of art is the object seen sub specie aeternitatis; and the good life is the world seen sub specie aeternitatis. This is the connexion between art and ethics.

The usual way of looking at things sees objects as it were from the midst of them, the view sub specie aeterinatis from outside.

In such a way that they have the whole world as background.

Is this it perhaps--in this view the object is seen together with space and time instead of in space and time?

Each thing modifies the whole logical world, the whole of logical space, so to speak.

(The thought forces itself upon one): The thing seen sub specie aeternitatis is the thing seen together with the whole logical space.

One of the (many) ideas here is that seeing something as a work of art is seeing it not "from the midst of things" (as we ordinarily see things) but "from outside": with space and time instead of in them. The object is seen as with the whole world, not as part of it: it stands out from the whole world, which recedes as into a background.

This is redolent of the way Schopenhauer thinks of artworks: the importance of artworks is that in viewing them my individual will is quieted, and I apprehend things as a "pure subject of knowing", as a non-individual subject.

The third book of "The World as Will and Representation" is Schopenhauer's aesthetics, and begins with a lengthy discussion of "the Platonic Ideas". The Idea which a particular object manifests is always one and unchanging, but the objects which manifest the Ideas are always many and changing. Schopenhauer takes this Platonic distinction between the Many and the One to be at heart identical with the Kantian distinction between the phenomena and the thing-in-itself: plurality, change, duration, extension are all mere forms of our awareness, and do not condition the things themselves (Plato's ontos on, the proper objects of episteme as opposed to doxa, knowledge rather than opinion). Schopenhauer takes as one of his main additions to philosophy the idea that we can become aware of this distinction not only "in abstracto" through philosophy, but also "in exceptional cases" intuitively: the work of art shows us the truth of transcedental idealism/Platonism. Spelling this out and making it plausible is the task of book three of WWR.

I think the best way to make sense of this is to look at how artworks function, on Schopenhauer's account. In most artforms (music is an exception), Schopenhauer thinks that we see the art-object not as the particular object it is, but as the Platonic Idea which it manifests. Architecture gives us Ideas of hardness and rigidity, landscape paintings of various species of plant-life, portraiture the Ideas of various human types, etc. These are very odd claims to make, but I think I've found a way to make Schopenhauer's view look non-insane: the trick is to think of artworks as opposed to ordinary objects.

Normally, the way I apprehend objects is in terms of their practical significances for my purposes: I see the clearing as a good spot for building a fire, the fire as for cooking over, the pot as for making soup in, the soup as for eating, eating the soup as for satisfying my hunger, etc. Schopenhauer is withering about the endless nature of these fors: "satisfying" desire is an endless task, and he thinks it fundamentally misguided. The way to deal with a desire is not to satisfy it (since this brings more desires in its tow), but to stop desiring. (The Buddhist influence on Schopenhauer is obvious and self-conscious here.)

So, when we perceive an ordinary object, for Schopenhauer, this is entirely at the service of our will: we see it as for this-or-that task which we care about. We see it only in relation to ourselves (our tasks, our desires) and other things (to use it with/for). But perceiving an artwork is not like perceiving an ordinary object. So if you think about ordinary perception in the way Schopenhauer does, it's natural to think that what this means is: we see a work of art as not in relation to ourselves or other objects. We just see it by itself, not as an element of a totality which is spread out around it. We see it as One, not as one-among-many. So the idea that an artwork presents us with a Platonic Idea is not the pure rubbish it initially appears as, seen in this light. (Music is said to present us with "the will itself", and not an Idea, because music does not involve representing a particular sort of thing in the way that painting or sculpture does (or architecture, where the represented thing is identical with its representation) and so there's no particular sort of Idea it could be presenting. But the contrast is still present: listening to music involves perceiving the world in general in a way that is not related to our will or other things.)

From section 34 of WWR:

Raised up by the power of the mind, we relinquish the ordinary way of considering things, and cease to follow under the guidance of the forms of the principle of sufficient reason merely their relations to one another, whose final relation is always the relation to our own will. Thus we no longer consider the where, the when, the why, and the whither in things, but simply and solely the what. Further, we do not let abstract thought, the concepts of reason, take possession of our consciousness, but, instead of all this, devote the whole power of our mind to perception, sink ourselves completely therein, and let our whole consciousness be filled by the calm contemplation of the natural object actually present, whether it be a landscape, a tree, a rock, a crag, a building, or anything else. We lose ourselves entirely in this object, to use a pregnant expression; in other words, we forget our individuality, our will, and continue to exist only as pure subject, as clear mirror of the object, so that it is as though the object alone existed without anyone to perceive it.... It was this that was in Spinoza's mind when he wrote: Mens aeterna est, quatenus res sub aeterinitatis specie concipit [The mind is eternal insofar as it conceives things from the point of view of eternity.]

To be fair to Schopenhauer, he thinks this is a place where he's going to be misunderstood (and taken to be ridiculous). He prefaces the above remarks with the plea that "the reader must suspend his surprise at it for a while, until it has vanished automatically after he has grasped the whole thought to be expressed in this work." So this is a place where Schopenhauer is aware that he's having a hard time saying what he wants, and doesn't think anyone will understand him unless they're in a position to understand his work as a whole: the claim about what Spinoza meant by conceiving of things sub specie aeternitatis is key to all of Schopenhauer's philosophy. And it's doubtless that Schopenhauer is where Wittgenstein took the phrase from (there being no evidence he ever read Spinoza). I am still working out what to make of this, but the conference was helpful for stimulating thinking on it.

...so with all that said, back to Fried: the contrast he sees between Einzelne and Gegenstand can easily be worked out along the lines I did above, but the German also allows for der Gegenstand to just be a pronoun that refers back to das Einzelne. And the Notebooks passage talks in terms of Gegenstand throughout, except for the line where Wittgenstein says "Jedes Ding bedingt die ganze Logische Welt" (where I can't help but feel the pun as doing work). So Fried might be reading too much into that particular word-choice. The German doesn't demand his reading.

Shifting focus: Someone asked Fried if the pleasure taken in seeing a work of art in which someone is totally absorbed in their doings was not a voyeuristic pleasure. Fried was adamant that it was not: A voyeur is a hidden spectator, and there is nothing like this in viewing an absorptive work of art. One does not view an absorptive work of art as a spectator at all -- there is no place in the picture that one is supposed to be viewing from (though of course it has to be drawn/shot from a visual perspective, this is not part of the content of the picture).

Here Conant added some remarks related to his work on film (he's part of the Film Theory group at Chicago): In an ordinary objective shot in a film, the question "Where is the camera in this space?" is something he says "has no application". There are ways of shooting a scene such that this *is* a question you can ask, like with point-of-view shots or tracking shots, but it is not a question you can intelligibly ask about an objective shot. Fried added that you can splice together things shot with different cameras or at different times, such that no camera in any location could've taken the shot you end up with in the film, which I think makes Conant's point more vivid.

In an objective shot, we are not seeing things from a place in the space of the film: thus it is natural to say we are viewing it from "outside" the space. But it is easy to be misled by this: Saying we view things from "outside" the space of the film is not to answer the question "Where in the space of the film is the camera located?" but to refuse it: viewing things "from outside" is not viewing them from any place. "Viewing things from outside the space" isn't a matter of having the things in the space being related to some point outside it, but is a matter of how the whole of the space is arranged. Shooting something "objectively" is a style of shooting, not a special position you're shooting from. To view things "from the point of view of eternity" is not to view them from a special point of view, eternity's, but to have the way one views things differ from the normal in some other way.

Conant related this to what he sees as the central concern of Wittgenstein: he is criticizing the idea that we need (or could have) a "view from outside", what McDowell calls a "sideways-on view", of our lives/thoughts/practices, in logic, in ethics, and in aesthetics. ("Skepticism is not irrefutable, but is obviously nonsense" is a pregnant Tractarian slogan here, for those familiar with Conant's writings.)

A sidenote: Someone asked Conant how the C&V passage relates to part two of Philosophical Investigations and its discussion of aspect-seeing, given that one thing Wittgenstein says in C&V is that Engelmann is "seeing his life as God's work of art". Conant's "gut reaction" was to say that this was a metaphor, and that you could push it too far, but that there was a similarity here: In both cases you see things the same, and you see them differently. The same drawing is now a duck, now a rabbit; similarly, Engelmann's life is not different when he views it as God's work of art and when he views it as he normally does, but there is a difference between those two. I'm not sure how Conant thinks you could push this line too far (and in fairness, he said this was only his gut reaction, not a considered opinion). Perhaps what he had in mind was that you can capture the aspect-changes of a duckrabbit by making different judgements: "I see a duck" vs. "I see a rabbit". It's not clear you can do this with seeing Engelmann's life normally and seeing it as God's work of art -- and more to the point, I think the author of the Tractatus would adamantly deny that any differences in judgements would capture the distinction he wanted. ("In the world there is no value -- and if there were, it would be of no value.")

That's about all I have noted for Fried's talk (and I've missed/left out a lot -- it was a very fun two hours), but I'll close with a Walter Benjamin quotation that David Wellbury drew our attention to, because I don't have it quite right and I'm failing to google up the source: "What is the difference between this world and the world messianically redeemed? The difference is everything, but miniscule."

This post is probably already too long, so I'll leave my notes on Ray Monk's paper for another post. It was easily my favorite paper of the conference. Skipping past it: I really enjoyed the reception at the end of this day. I feel like this was the first conference reception that I really "got" how these receptions are supposed to go; the socializing was fun and stimulating and I didn't end up sitting in a corner sipping on a drink. I spoke to Ray Monk for around half an hour about Schopenhauer and Wittgenstein, which was good times. He thinks that when Wittgenstein refers to his first philosophy as "a Schopenhauerian idealism" he probably is referring to something he'd outgrown before he ever met Frege or Russell, since his interests had by then shifted to the foundations of mathematics. (Before he'd written to Russell he wrote a letter to Philip Jourdain about the axiom of choice.) But there's no knock-down evidence about this. More interestingly: I mentioned in passing that there wasn't any evidence Wittgenstein had read anything beyond the first volume of "The World as Will and Representation", and he said that he was pretty sure he'd mentioned "On the Fourfold Root of Sufficient Reason" once. I pressed him on this, and his best guess was: He thinks that Anscombe had told him in conversation that Wittgenstein had mentioned it in conversation!

Also, Irad Kimhi said that the first "Twilight" movie was "beautiful", but he didn't like the second one. I just want this to be out there in the public record: Kimhi liked the first "Twilight" movie. He also seemed to be really enthusiastic about "Cowboys and Aliens".

grumbles

I am currently in Chicago for this, and I found myself feeling bothered about how the first day's discussions went. So this is a rant post, more or less.

One thing that Conant said at the workshop today was that the Tractatus is "a book at war with experience" (or something close to this), and noted that Wittgenstein doesn't talk about experience or epistemological matters in the book. This is in stark contrast to Russell, who considered certain sorts of acquaintances as foundational for logic: acquaintance with logical constants was what let us use symbols like "and", "not", etc. This is fair enough, so far as it goes. The idea that some sort of experience is (or could be, or would have to be) important for logic is something Wittgenstein is fighting against in the 1914 Notebooks, and it's something that Russell held.

Kimhi raised a question about this in connection with the "Lecture on Ethics". In the Lecture, Wittgenstein talks about a certain sort of experience which he calls "ethical", wondering at the existence of the world. This is clearly not a particular sort of experience in the sense of an experience of a sort of particular, but Kimhi said that it was a sort of experience that Wittgenstein thought you needed to have, or else you'd be deficient somehow, ethically. Conant objected that he didn't think that Wittgenstein would've been willing to say this sort of thing at the time he wrote the Tractatus, and that starting to talk about "experience" is something he does only once he returns to philosophy and starts moving away from the Tractatus. Kimhi said he thought there was the same sort of stuff in the Tractatus, but Conant said there wasn't. Conant then tried to think of what was closest to what Kimhi was saying, and starting talking about the world of the happy man and the unhappy man. Conant said that the world of the happy man and the unhappy man was the same world, and this was objected to: he then clarified that he meant there aren't two worlds. The workshop ended shortly after this, due to time.

I should've brought up 6.45: "The contemplation of the world sub specie aeterni is its contemplation as a limited whole. The feeling of the world as a limited whole is the mystical feeling."

True, Wittgenstein doesn't talk about experience (Erfahrung, Erlebnis) in this passage. But the word for "contemplation" here is Anschauung. This is the word rendered "intuition" in Kant and Frege, and "perception" in (the Payne translation of) Schopenhauer. These are sorts of experiences, as are feelings. This seems to be precisely what Kimhi had in mind. It's even preceded by 6.44: "Not how the world is, but that it is, is the mystical." A dead ringer for the Wittgenstein of "Lecture on Ethics". It looks like even in the Tractatus, Wittgenstein in some sense thinks there is a certain sort of experience (feeling, perception) that is ethically significant. It's not an experience of some particular fact about "how the world is", but it's something. And Kimhi was right to bring it up: it doesn't fit in at all with anything Conant or Kremer says about the ethical importance book. Neither of them has any sort of special experience as part of the story.

One aspect of Conant's reading of the Tractatus is that it draws the reader in by having sentences that the reader recognizes as being sentences she would like to use to express thoughts, but then (through further reading of the book and thinking about it) they fall apart on her: she realizes there was no such thought as she thought she wanted to express, only confusion on her part. Conant mentioned Frege and Russell in particular as people Wittgenstein wanted to have read the book in this way. Russell could see "The world is all that is the case" and think "Ah, yes, this is what I call 'the totality of atomic facts'". But I don't see how this can work with propositions like "As in death, too, the world does not change but ceases." Nor with the other solipsism passages: Frege and Russell are two of the most adamant opponents of idealism you can find. I don't know who Conant thinks these could've been written for, unless Wittgenstein was writing for himself circa the 1916 notebooks. What other sort of reader is supposed to have wanted to say "Of the will as the bearer of the ethical we cannot speak"?

Conant also said some false things about Frege and elucidations, but my notes are too brief for me to be fair to him. The impression I got was that Frege's "Concept and Object" was supposed to be one of the chief things Wittgenstein was reacting to, and that in it Frege had thought he was communicating unsayable insights into the deep ontological structure of reality by saying paradoxical things like "The concept horse is not a concept." But there are three big problems here. One is that Frege doesn't introduce the notions of concept and object by saying paradoxical things; he introduces them in the preface of "Foundations of Arithmetic", in the three rules he says will govern his inquiry. (I don't have my copy on-hand, so I won't quote it, but I'm pretty sure it's the second rule: Don't confuse the subjective with the objective, don't confuse concepts and objects, and don't ask for the meaning of a word outside the context of a sentence, if memory serves me.) "Concept and Object" only gets written because Kerry misunderstood Frege, and Frege wanted to take the opportunity to try to get more people to care about his project. It's not an essential part of Frege's project, and Frege didn't take it as essential to making the object/concept distinction clear. He's already using what he needs from it in Begriffschrift (the book), insofar as he distinguishes between two slots you can quantify into, and it shows up explicitly, with no fanfare, in the preface to "Foundations". Saying "The concept horse is not a concept" and lamenting that your language misses your thought is a later addition Frege makes, not something there at the outset. The second big problem is that a lot of things Frege says are "elucidations" aren't remotely paradoxical. The prose from the opening sections of "Basic Laws of Arithmetic", where Frege is introducing the vocabulary of his Begriffschrift, is characterized as elucidatory remarks. (I don't have this text on me, either, but you can look it up: the opening stuff is straightforward Fregean prose, not paradoxes.) "Elucidation" is Frege's blanket term for any way vocabulary gets introduced when it's not introduced by explicit definitions. (Kremer seemed to get this part straight, but he seemed to agree with Conant about the first thing I objected to.) The third problem is that some of the things that seem like they should count as paradoxical elucidatory remarks can be expressed in a (slightly) expanded version of Begriffschrift: it's easy to express "Everything is an object" in Begriffschrift, for example. The weirdness in Frege doesn't attach to elucidations, but to the specific terms "function" and "concept" (and possibly a few others -- Frege doesn't tell us much about thoughts, for example, and there's no clear way to talk about them in Begriffschrift, but there's also nothing that looks similar to "Kerry's Paradox" there). Conant seemed to just be getting Frege wrong, and I don't see Wittgenstein getting Frege similarly wrong. But, again, my notes are very sketchy and it's possible I just took Conant wrong on some or all of this.

The only time Schopenhauer came up during today's workshop discussion was when Conant was summarizing his essay "What Ethics in the Tractatus is Not": he mocked those who try to say what Wittgenstein thought about ethics in the Tractatus by saying what Kierkegaard or Schopenhauer thought about ethics. But the curious thing is: a lot of people writing on Schopenhauer's ethics quote the Tractatus to explain what Schopenhauer thought about ethics.

I continue to feel strongly that Schopenhauer is somehow really important for the Tractatus in a way I can't nail down, and that this has been largely neglected by commentators on the book.

Aside: I found it incredibly frustrating how little Conant and Kremer had to say about the propositions of the Tractatus which are nominally about ethics. I don't see how it can be reasonable to have a general story about how "the ethical" works in the Tractatus without being able to say anything about "Ethics and aesthetics are one", for example. Hopefully the other presenters look at those parts of the book more!

Appendix on an incredibly minor textual issue:
Here are some things I learned from the article "A Note on the Text of the Tractatus" (C. Lewy, "Mind" 1967): One of the revisions Wittgenstein marks in Ramsey's copy of the Tractatus is to change 6.522 from "There is indeed the unexpressible. This shows itself; it is the mystical." to "There is indeed the inexpressible. This appears; it is the mystical." Wittgenstein doesn't say to change the German, and the verb used in this proposition is the same one translated as "show" throughtout the rest of the book (Ramsey and Wittgenstein were marking places to change the text for the 1933 reprint of the Ogden-Ramsey edition.). He also changes 6.23 in the same way: Whether it is the case that two expressions can be exchanged for one another "must appear from the expressions themselves". He doesn't mark the other appearances of the same verb, and there are occurences between these two instances, which he doesn't change, such as 6.36, "If there were a law of causality, it might run: There are natural laws. But that clearly cannot be said. It shows itself."

I don't know what to make of this, but these are corrections made in Ramsey's copy of the Tractatus that weren't incorporated into the 1933 revision. The other two such changes as in 3.33 Wittgenstein wrote "the object meant by" above "the meaning of the sign", but without crossing anything out, and in 5.557 he changed "The application of" to "Applied". The first change seems to me reasonable to skip: he didn't mark out the original. The second strikes me as inexplicable: the revised proposition would begin "Applied logic decides what elementary propositions there are." My guess is that Wittgenstein thought this sounded like better English,
which it doesn't, and that this is why it wasn't incorporated.

I can't shake the feeling that the revision to 6.522 is significant. Even though I can't see any significance in changing 6.23 in the same way. And despite the fact that (for whatever reason) it wasn't incorporated into the 1933 revision. I am perhaps overthinking this: Wittgenstein might have just toyed with changing the translation of "zeigen" and only marked the two spots, then changed his mind.

i has an m.a.

I officially graduated last weekend. Finished my thesis in late November; I haven't been blogging because whenever I would get the urge to blog (or would begin a post), I would think "Shouldn't I really be working on my thesis instead?", and that killed the fun of it. And then after finishing my thesis, I had to get PhD applications done. Finished those of earlier this week. I am now free of any academical-type obligations, for the first time in quite a while. (It feels strange, like I must owe someone a paper, and just can't figure out who.)

So, now I can blog freely again.

Because it seems like a thing to do, here's a brief recounting of my year at Chicago:

Fall quarter was when I had to take the MAPH "core" course, which was about Theory. I was reminded of the "Theory's Empire" book-event from The Valve often. I did not enjoy this course, and was glad when it ended. I really can't say I got anything from this course, except some painful and awkward introductions to Freud, Lacan, and Adorno (and some other guys I would've been happy to never encounter). It wasn't even good for writing practice; the longest paper I had to write was five pages or something like that. And that paper was about Lauren Berlant and some movie I've never seen based on a book I've never read. Just a mess of a class.

There was an "introduction to analytic philosophy"-type course that was only open to MAPH students; I figured it was a good thing to take. There were issues that lead to the class being taught by a PhD student, Tom Lockhart, but he did a good job of it I thought. I enjoyed the class, and it was a pretty gentle way to get back into the swing of things after having a semester off (and before that, a semester of law school). I wrote a paper on the second part of "Mental Events" for it (and a shorter one on "Naming and Necessity", which was much easier to lay out than the second part of "Mental Events").

Haugeland's Heidegger's "Being and Time" was a good excuse to read the rest of division one of "Being and Time". I fell a day behind in the reading at one point, and caught up by skipping a section I'd read before: the bit about the broken hammer. It turns out that if you read all of division one except that bit, the "present at hand" sounds like a philosopher's fiction: nothing is ever actually given to Dasein like that. It's always something richer, like the ready-to-hand, the living, Daseins, etc.; the "present-at-hand" is paradigmatically what is presented to a res cogitans (i.e., it is nothing but something confused philosophers dreamed up). Now, in the broken hammer passage, this is clearly not Heidegger's view. We can see the broken hammer, and he says we see it as just something present-at-hand. So I spent a lot of this quarter misreading "Being and Time". I like my misreading a lot more than Heidegger's actual view, though, and I think that my misreading makes sense for pretty much all of the rest of division one (especially section 21, "Hermeneutic Discussion of the Cartesian Ontology of the 'World'"). Incidentally, this is the class that taught me how the quarter system works: I suddenly had to scramble for a paper topic when I realized the course was almost over, and ended up having to get an extension for the paper (by a week or two). I ended up writing something about Dreyfus's Heidegger and "Telling" that I don't think really came together, but was kinda fun to work on.

Winter quarter was very cold and dark.

I sat in on Ford's "Action and Practical Knowledge" seminar, which gave me an excuse to read Anscombe's "Intention" and Thompson's "Naive Action Theory", along with some more of Davidson's old action papers. This also got me up to speed on philosophy of action well enough to know some of what was going on at the Anscombe Conference in the early spring. Definitely glad I didn't take this for credit, though; I'm still mulling a lot of it over, and I'm not sure I really get what's so important about Thompson. (I've read the rest of "Life and Action" now, and still don't see it. Though he did say some stuff about gold and Kripke-Putnam essentialism in the third part that lead me to suspect I in fact do not want to get on board with his broader program. I should probably look at that passage again, and post on it.)

I also sat in on Irad Kimhi's "Active Thoughts" seminar. It was utter madness from beginning to end and I couldn't get enough of it. I couldn't tell you what the class was about, but there was a lot of interesting stuff crammed in there. Sitting in on it also gave me an excuse to read more Frege ("The Thought" and "Negation" especially), and some other fun logic-y stuff.

For credit, I took "Intermediate Logic", "Modern Moral Philosophy", and Pippin's "Kant's Critical Philosophy". Logic did not require me to write a paper, or to read very much; this made it an excellent course for the winter quarter. It was also fun to do more logic homework, though some of the completeness proofs were annoying.

"Modern Moral Philosophy" was taught by a visiting professor from Rome, Piergiorgio Donatelli. We read a little Bernard Williams, several Iris Murdoch pieces, two chapters from "The Claim of Reason", a McDowell essay I hadn't read yet, and then a lot of Cora Diamond's stuff. And Donatelli brought up dozens of other figures in the lectures. It was a heady mix of stuff; my lecture notes are a mess (though not as bad as the notes for "Active Thoughts"). I read an article of Diamond's that wasn't assigned for class (her piece in the "Cambridge Companion to Wittgenstein") that bothered me in ways I couldn't quite get a handle on; I wanted to write on that, but wasn't getting a grip on it, so instead I wrote about something Diamond said about McDowell, and somehow a quarter of the essay ended up being about Davidson.

I read several Diamond pieces about Truth and Tarski-type approaches to it for this paper; I did not like them very much. She seemed to go after Rorty for the wrong reasons (as Conant did, in much greater length, in his article about Rorty and Orwell), and she seemed unhappy with Davidson's take on truth for no reason I could figure out. (If I recall correctly, it had something to do with there being "many ways something could be true"; I couldn't see how this was a problem for Davidson, since any difference between e.g. moral facts and chemical facts would be paralleled in the relevant T-sentences: they would say that the different sorts of sentences are true IFF different sorts of things are the case. Diamond didn't flesh any of this out so much as say we needed to pay attention to it. I can't tell what exactly I'm supposed to notice, so I don't see why Diamond-on-ethics-and-truth is so great.)

For Pippin's class I wrote a paper on the Transcendental Aesthetic. It was straightforward: Kant says that the transcendental ideality of space and time are established here; what are his arguments, and do they work? I defended the venerable "neglected option" objection, more or less. It was pretty easy to write, which was good because the rest of the quarter had me pretty frayed.

The Anscombe Conference was in the early spring. Thompson is a lot of fun to watch, and McDowell is surprisingly frail and birdlike in person; he looked like he might break if someone ran into him. I made it to most of the papers; most of them were good. McDowell had a paper on Anscombe-on-sensations that was pretty much the paper you would expect him to write on that topic. I will need to find my notes to say much about the rest of the speakers, but I do remember this: Thompson is a genius.

I was supposed to have a draft of my thesis done early in the spring; difficulties finding a workable topic lead to that not happening. I ended up writing about McDowell's criticisms of Davidson in "Gadamer and Davidson on Understanding and Relativism"; most of the paper was devoted to setting the stage, since "Epitaphs" is a tricky paper to get right. I'm pretty happy with how it turned out, though Kremer (my advisor) remains unconvinced. One section of the paper ended up getting cut before it was even to the draft stage, what I was trying to articulate in the comments here, because a) I realized that spelling things out would take another paper to do well and b) I'm not at all sure that McDowell makes this argument against "Epitaphs" (and I'm suspicious that he doesn't make it because he knows it's not a good objection; certainly the closest he comes to making it explicitly is very hand-wavey stuff, and he could've made it very straightforwardly. I think Dummett does make it, for instance.). This paragraph probably makes sense to nobody except me, since only three or so people on the planet have read my thesis, but I refuse to cut it! Blogging is for vanity's sake.

Bridges taught a course on "Rationality" and a seminar on "Contextualism" in the spring; I considered both, but ended up taking neither. (I didn't know anyone in the seminar and it felt awkward; the "Rationality" course was not exciting in the first few courses, and was overfull -- I dropped it so someone else could have my slot.) Stephen Nadler (a visiting prof from U Wisconsin-Madison) had a course on Spinoza's "Ethics" which was simply phenomenal; I'd planned on just sitting in on it (and asking some questions about Hegel and Spinoza), but by the end of the second class I knew I had to take this course. Nadler did an amazing job leading the class: we got through the entire book, and discussion was always lively and unforced. I wrote a paper on Spinoza and anomalous monism, which I thought turned out very well, and it was the third Davidson-y paper I'd written in as many quarters. (When I asked Nadler about the topic, I assumed it was probably too banal to write on, and was going to ask for suggestions as to what in specific to focus on in the area; turns out it's not all that well-represented in the Spinoza literature, though Della Rocca does defend the connection, so I got to write a paper that came very easily.) Hands-down the best course I took for credit at Chicago.

Another (regularly) visiting professor, Jocelyn Benoist, was teaching a seminar titled "Intentional Objects: An Inquiry into the Common Origins of Analytic Philosophy and Phenomenology"; about half of the course name shows up on my transcript. Benoist lectured about a lot of interesting people I'd had only superficial knowledge of before, like Bolzano and Brentano and Meinong, and some I had never heard of (mostly Polish philosophers, who were all interesting to read). All of it was shiny and new, and Benoist covered a lot of material very quickly. The guiding thread through most of the class was what to do about terms with sense without reference (if Meinong is wrong and there are any), and what lead into that question getting asked in that way. I wrote a paper about Frege and Evans's account of him in chapter one of "The Varieties of Reference", basically just trying to make sense of how Frege could be so cavalier in saying that "Odysseus" has the same sense whether or not Odysseus ever existed. (One nice point Benoist stressed was that Frege's example was not random; this was around the time when Troy was discovered by archaeologists, after having been considered as mythical for centuries.) I read a lot of Frege (and a fair bit of Evans) in preparation for this paper, but something just didn't quite come together in the end; I'm happy with what I have in the paper, but feel like I didn't really finish it. I don't know what I failed to write, but I definitely did not write something that needed writ.

It was a fun year.

And randomly: these conference papers are pretty good listenin'. And the "Coherentisme" paper is actually delivered in English. Hours of Sellarsian fun.