This chapter contains sections titled: Games Form a Family What Is Common to All These Leaves? Expressions Constructed on Analogical Patterns The Human Form of Life Clusters and Families A Case for Methodological Pluralism.

In his Philosophical Investigations , Wittgenstein introduces the notion of a ‘family resemblance’ to deal with certain problems. Talking of games and what they seem to have in common, he points out that there are no common features in virtue of which we call all games ‘games’. Instead there are, he claims, many different similarities and relationships; he says ‘we see a complicated network of similarities overlapping and criss-crossing: sometimes overall similarities, sometimes similarities of detail’. (...) He then goes on to add: ‘I can think of no better expression to characterise these similarities than “family resemblances”; for the various resemblances between members of a family: build, features, colour of eyes, gait, temperament, etc. etc. overlap and criss-cross in the same way,—And I shall say: “games form a family”.’ Wittgenstein also instances numbers as forming a ‘family’ in the same manner. This notion of a ‘family resemblance’ has come to be used by many philosophers to deal with a range of situations where there appears to be a difficulty in finding a single definite common property and yet there exists a desire to call some set of things by the same name. I myself have succumbed to this temptation. Perhaps the widest claim for the use of this device is that made by Mr Bambrough in an article entitled ‘Universals and Family Resemblances’ . This begins with the words ‘I believe that Wittgenstein solved what is known as “the problem of universals”’. (shrink)

The new discoveries of QM led to re-assessing, broadening the meanings of many physical concepts, and formulating a new logic that was no longer based on the classical principles of non-contradiction, identity, and causality. Heisenberg considered the classical logic and the conception of language expressed in the Tractatus Logico-Philosophicus inadequate for the understanding of the problems of language with which the physicists of the Copenhagen school had had to deal in order to define the foundations of Quantum Mechanics. (...) On the contrary, he saw in Wittgenstein’s posthumous Philosophical Investigations the key to solving those problems. One may formulate a proportion and state that the use of language described in the Tractatus fits the use of language in Classical Mechanics, as the use of language described in PI fits the use of language in QM. I interpret the reflections of the physicists of the Copenhagen school on the limits of language relative to QM by highlighting how the epistemological revolution of quantum physics shares a conception of language similar to that expressed by late Wittgenstein in PI. I also aim to explain why Heisenberg considered it inappropriate to subsume the propositions and concepts of QM under the rules of the propositional logic of Tractatus. I explain why the philosophy of language expounded in PI, which is based on language games and resemblance families, sheds a light on how and why QM has contributed to renewing existing concepts (such as space, trajectory, observer, etc.) and to formulate a new logic (quantum logic). (shrink)

Resumen Según la tesis principal de este artículo, para articular el alcance e interés del tema wittgensteineano de los parecidos de familia se requiere ver en él, no una respuesta a la pregunta por lo que sea un concepto en general, sino una propuesta de carácter metodológico. Dos preguntas orientan la parte central del texto: (1) ¿Qué significa “conceptos de parecidos de familia”? (2) ¿Cuáles serían los conceptos en cuestión? Con respecto a (1), intento mostrar que el término no es (...) unívoco: un primer sentido dice relación con el dictum de los “parecidos que se superponen y entrecruzan” (IF 67) y se diferencia de un segundo sentido asociado al tema de los “bordes borrosos” (IF 71). Con apoyo en esta distinción ofrezco una respuesta a (2): en el primer sentido del término, no existe ningún concepto de familia, mientras que de acuerdo con el segundo todos los conceptos lo son. En la parte final propongo reinterpretar el tema en clave metodológica. Afirmar que conceptos como los de lenguaje, comprender, pensar, etc., son conceptos de familia significa que la reflexión filosófica sobre ellos no pasa fundamentalmente por buscar definiciones; que tanto o más importante es la cuidada descripción de ejemplos paradigmáticos, como “centros de variación” (EPB 190). Abstract According to the main thesis of this article, in order to articulate the scope and interest of Wittgenstein’s family resemblances topic, we should see into it not an answer to the question what concepts in general are, but a methodological proposal. Two questions guide the central part of the text: (1) What does “family-resemblances concepts” mean? (2) What concepts fall within the corresponding class? Regarding (1) I try to show that “family-resemblances concepts” is not an unequivocal term: a first sense has to do with the dictum of “similarities overlapping and criss-crossing” (IF 67) and is to be distinguished from a second sense associated with the topic of “blurred edges” (IF 71). This distinction lies behind the answer I offer to (2): in the first sense of the term, there is no family concept at all, while according to the second sense all concepts are of this kind. In the final part I propose a reinterpretation of the issue from a methodological perspective. To say that concepts like language, understanding, thinking, etc. are family concepts means that the philosophical reflection on them should not centre on the praxis of looking for definitions. As important ―maybe more important― as that it’s the careful description of paradigmatic examples, as “centers of variation” (EPB 190). (shrink)

This article offers a detailed textual reexamination of the ‘family resemblance’ passages to reconsider their implications for understanding art. The reassessment takes into account their broader context in the Philosophical Investigations, including the rule following considerations, and draws on a realist interpretive framework associated principally with the work of Cavell, Diamond, McDowell, and Putnam. Wittgensteinian “realism with a human face” helps us discern that the primary issue is not whether certain concepts are definable, posing a stark opposition between essentialism and (...) its denial about kinds such as language or games. What is at issue is keeping uses of language in view in their variety and their broader life contexts. Focus on rules suggests more broadly that norms and values inhere in practices and play a constitutive role in determining the entities integral to those practices. From this perspective, a Wittgensteinian framework explains art as locally overlapping practices, each with their own constitutive norms and values for the works integral to them. What makes something art has normative force specific to a practice. This recognizes the historically contingent nature of art practices in a way that relational definitions or disjunctive ‘cluster’ explanations do not. (shrink)

If Plato were here today, he would argue that our knowledge of Superman is based on the unchanging and eternal Superman found in the world of being. Philosophers struggled with Plato’s theory of essences for over 2000 years. No one really challenged the idea itself until Ludwig Wittgenstein changed the rules of the game in his enormously influential Philosophical Investigations, published after his death in 1953. Wittgenstein suggests that at least sometimes it does not make sense to look for a (...) thing’s essence. The different versions of Superman share a family resemblance much like games do. Rather than trying to identify the one true essence of Superman, one can simply say that a candidate for being Superman must have enough of the typical Superman characteristics, though not necessarily all of them or any one in particular. (shrink)

This is a composite review of three intriguing and provocative books that address the interconnections between East Asian and Western philosophy. Firstly, in _Phenomenology and Intercultural Understanding: Toward a New Cultural Flesh_, Kwok-Ying Lau thinks that phenomenology can help construct a “cultural flesh” between civilizations that encourages East-West philosophical dialogues, and that China needs to adopt Western terminology to facilitate an intercultural engagement. Merleau-Ponty’s “inter-world” can help this bridge. Secondly, in _Fundamentals of Comparative and Intercultural Philosophy_, Lin Ma and Jaap (...) van Brakel argue that Chinese thinkers of the modern world invent “Chinese philosophy” in order to engage with Western thought. In a distinct fashion, they incorporate a Wittgenstein-inspired scenario whereby the necessary precondition for comparative intercultural philosophy is the “attitude-toward-a-soul principle” alongside the “family resemblance principle” which includes the “no need to speak the same language principle” or no need for one tradition to adopt another’s terminology. Thirdly, in _Chinese and Buddhist Philosophy in Early Twentieth-Century German Thought_, Eric S. Nelson proposes that intertextual analysis opens multi-dimensional spaces of interpretation to situate changing views of East-West encounters in Germany ranging from Hegel and Kant to Buber and Heidegger. Daoism, Confucianism, Chan and Zen Buddhism are sites for examination by Western thinkers that open portals to East Asian culture and philosophy. (shrink)

An account of the feature all games share in virtue of which they are games.

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

In his Vermischte Bemerkungen 43, Wittgenstein notices that he was also influenced by Oswald Spengler. The paper deals with the question of in which way Spengler influenced Wittgenstein’s late works and if it really was influence or only a coincidence of ideas. It is put forward that Spengler’s rather unknown philosophy of language influenced Wittgenstein’s philosophy of language, especially the concepts of family resemblance, antiessentialism, and language-game (Sprachspiel). A picture of the famous Neapolitan gesture of “negation” which (...) motivated Wittgenstein to give up the picture theory of language is also shown with an example taken from Andrea de Jorio, La mimica degli antichi investigala nel gestire napoletano, Napoli 1832. (shrink)

continent. 1.4 (2011): 279—285. Concerning its Transitive Nature, the Conversion of Native Americans of Spanish Colonial California, Indoctrinated Catholicism, & the Creation There’s no direct archaeological evidence that Jesus ever existed. 1 I memorized the Act of Contrition. I don’t remember it now, except the beginning: Forgive me Father for I have sinned . . . This was in preparation for the Sacrament of Holy Reconciliation, where in a confessional I confessed my sins to Father Scott, who looked like Jesus, (...) at least in Western cultural representations of Jesus since the middle ages, and if Jesus put on a few pounds. Father Scott was long-haired, redheaded, bearded, chubby, and tall. When he left church with the procession of altar servers and Eucharistic ministers, yelling, “Sing a Good Song Unto the Lord,” he smiled, hands folded, and he gazed over his parishioners, and bounced along. For four months every year he lived among the Crow Nation in Montana, where towards the end of his tenure at Our Lady of Refuge, they adopted him as an honorary member of their tribe. * This is the prayer we chanted, holding hands, every night before dinner: Bless us oh Lord, for these our gifts, which we are about to receive, our bounty through Christ, our Lord, Amen. Then we all said, God bless the cook! When we were with my grandparents, Grandpa said, God bless Chicky, and Holly, and Harvey, and Boots—all the dead dogs. * My sister tells me that she sits next to a handsome man on a flight across the country. After chitchat, she withdraws her book. She’s reading Kevin Sampsell’s A Common Pornography . After a few moments, the handsome man also reads from his book—his leather-bound Bible. Sister thinks, Oh, Jesus—too bad. She falls asleep. Later, settled in Nashville, she opens her volume and out falls a Jesus-covered card that reads, You can still find God and Salvation! Because that handsome God-fearing young man saw that word— pornography . * I suppose Father Jim’s dark hair, beard, and glasses made me think doctoral-ly of him. He called while I was in the midst of a breakup, after I’d twice attempted suicide, and my mother was desperate for help. She somehow found and phoned him. And Jim, now years out of Our Lady of Refuge’s parish, twenty years since my baptism, years even since he’d left the priesthood and the Catholic faith, still made the effort to bring me back into the fold. He said, “Have you seen a priest?” I did not respond, as I was more shocked to hear his voice than anything, so I said, “How are you, Father Jim? Sorry, I guess I shouldn’t call you ‘Father.’” And I said, “Why did you leave the priesthood? Do you have a girlfriend?” He said that I should call him just “Jim.” He said, “Do you need someone to talk to?” I said, “Not really.” He said, “Call your mother; she’s worried about you.” That was the last time I talked to Father Jim. * Mother let me know just how disappointed Jesus was. I cried and cried, and said I was sorry. Into my hands she placed my missal, ordered forty Rosaries. She said next Saturday I would go to confession. I hated confession. Who wouldn’t? * I realize, of course, that this page is a kind of confessional. * The Kumeyaay, Ipai, Tipai, Chumash, Esselen, Rumsen—all Native Americans of Alta California—shared similarities in their religions. Southern Californian tribes made use of Datura, or jimpson weed, a hallucinogen, for religious rituals. In the creation, God made brother sky and sister earth. Brother and sister mated, and sister gave birth to all things on Earth, including people, but it was difficult to distinguish people from all other aspects of Earth because everything was alive: granite and obsidian, the Pacific and its waves, the San Diego and Los Angeles Rivers. Wiyot—a hero—was very powerful, born from lightning, the son of the Creator and a virgin. When Wiyot thought that human women’s legs were more beautiful than Frog’s, Frog became jealous and poisoned Wiyot. The dying Wiyot went to all the people’s villages, and he distributed his power among them. He said, “When I die, I should be cremated.” The people built the fire and funeral pyre. When the fire was ready, and the people about to place Wiyot’s body upon it, Coyote came and snatched away Wiyot’s heart. * My friend Nick told me once how he ate some jimpson weed and that he hallucinated for three days. His family took a road trip and, while driving over the Sierra Nevada mountains, he kept seeing dinosaurs roaming the open meadows and charging down snowy slopes. So it’s no wonder that Native Americans who ingested this plant would have developed religion. * Walking Castroville’s streets after school I got into fights but mostly watched other boys scrabbling on the asphalt. I went to Burger King for Whoppers. Me and my friends cussed. Antonio admonished me when I said, “damn,” while strutting a sidewalk alongside the church. He said, “Jaime”—pronounced Hi-May, which was what all the Mexicans called me—“you’re crazy, eh. Don’t cuss at the church.” He meant while at church, as in, within its vicinity. I said, “We’re not in church.” Once we’d crossed the street, Tony said, “Damn dude, you’re fuckin crazy!” * Blessed Father Fray Junípero Serra raised the Eucharistic goblet to his lips, and candlelight danced on the blood’s tiny waves. Incense clouded the church so completely that some of the Pame natives grew nauseous. So, too, felt Blessed Father Fray Junípero Serra later that night, as he bent over a ceramic bowl and vomited blood, not only the Lord’s, but his own, for poison had laced the sacred vessel into which he poured the sacrament. The physician tending to the sick prelate urged him to take the remedy he’d prepared. But Blessed Father Fray Junípero Serra refused, said that he would pray, for he had never taken any medicine in his life, and he never would. * The Chumash of El Valle de Los Osos called themselves the Stishni, separating themselves from Chumash of other regions, those varying tribes of the central California coast that spoke mutually unintelligible dialects of their Hokan language. This made learning their languages impossible for the Spanish friars, to say nothing of translating the Doctrina. Thus the priests baptized few natives, despite the help that the tribes offered the fledgling settlements in the form of meat and acorn meal, which the Spaniards found repugnant. Some from these cultures, feeling threatened by the newcomers, shot flaming arrows into the thatched roofs of the mission structures. And why wouldn’t they feel threatened when priests chastised them for performing, for example, their Coyote Dance, wherein a man donning a coyote-skin-and-skull costume dances while a singer sings his tale, which laments the human feces strewn imaginatively about the Earth? Coyote, meantime, tries to get an onlooker to lick his genitals, and finally engages in public sexual intercourse with a female tribe member or two, then ends the dance by defecating. Though the Franciscans called such forbidden acts devilry , the Chumash maintained their Datura cult religion, along with the enforced Christianity. For the Chumash, the Earth was made of two enormous snakes that caused earthquakes when they slithered past one another—a vast reptilian tectonics. In the 20th century, long after Blessed Father Fray Junípero Serra and his cohorts had died, when asked by an anthropologist about religious contradictions, conflating the Datura and Christian cults, a Chumash man replied, incredulous: “But these are two different religions.” * When Portolá ordered that if by March 19th, the feast day of St. Joseph, the San Antonio had not arrived in San Diego Bay to relieve them, the Sacred Expedition to Nueva California would be abandoned, Blessed Father Fray Junípero Serra prayed a novena for San José’s intercession. And lo, a lookout sighted the San Antonio ’s sails—what seemed to the priest a miracle—that very Saint’s feast day. Europeans would stay in California, and Blessed Father Fray Junípero Serra would continue to reap a great harvest of souls for the Lord. By the end of mission secularization in 1836—sixty-six years after the San Antonio rescued the Spaniards—Native American populations in California had declined by seventy-three percent. * When Peter the Aleut would not renounce his Eastern Orthodox faith the padre of San Francisco had a toe severed from each foot with each refusal, totaling ten. The native Ohlones employed in this gruesome task—their obsidian chiseled knives tearing through skin and grinding bone—continued as per their orders, and cut off also each of Peter’s fingers (equals a total of twenty refusals). They quartered the martyr, spilled his bowels, as if from bear attack, attack by a bear in the shape of a Catholic. * Blessed Father Fray Junípero Serra absolutely believed that the slow rate of conversion for the native people was due to the influence of the Devil, who had been outraged by the coming of the Catholics to California, this region that he had long held in his dominion. * In his reception speech for the Nobel Prize for Literature, John Steinbeck said, “Man himself has become our greatest hazard and our only hope. So that today, St. John the Apostle may well be paraphrased: In the end is the Word, and the Word is Man—and the Word is with Men.” * In 1602, when Sebastián Vizcaíno and his friars sang mass on Catalina Island, as many as a hundred Pimungans witnessed the rite, asking by signs what it was about. According to Vizcaíno’s records, the Californians marveled not a little at the idea of Heaven and at the image of Jesus crucified. * Vizcaíno was brought to a prairie on Santa Catalina Island where the Pimungans worshipped their sun god. Upon the prairie they had placed an icon, a headless figure with horns protruding from the body, a figure that Vizcaíno predictably described as a demon. The Pimungans urged Vizcaíno not to approach the image of their deity, but he ignored them. He placed his crucifix against the wooden figurine and prayed the Our Father. Vizcaíno told the natives that his prayer was from Heaven, and that their god was the Devil. Vizcaíno held out his crucifix, encouraging the Pimungans to touch it and receive Jesus. He pointed at the sky and indicated Heaven. The Pimungans worshipped a sun deity, so they were impressed with this white man and his description of his god, for their gods seemed to be one and the same. It’s no wonder then that Vizcaíno’s diary reports the natives being pleased with this exchange. “Surely,” the diary says, “they will be converted to our Holy Faith.” * The Miwok women wailed and scratched at their faces when their men consorted with Sir Francis Drake and the other Englishmen who had landed on California’s coast in the summer of 1579. “The blood streaming downe along their brests, besides despoiling the upper parts of their bodies of those single coverings . . .they would with furie cast themselves upon the ground . . . on hard stones, knobby hillocks, stocks of wood, and pricking bushes.” Drake and his men fell themselves to their knees in prayer, their eyes Heavenward, so that the natives might see they prayed to God and they too might worship God then their eyes that had been so blinded by the deceiver might be opened. * Father Fray Antonio de la Ascención—Carmelite friar in Vizcaíno’s party—writes that the Indians of California can “easily and with very little labor be taught our Holy Catholic faith, and that they would receive it well and lovingly.” He calls for two hundred older and honorable soldiers to ensure brotherhood during the conquest, so that peace and love—the best tools to pacify pagans—should reign. The religious, the friar says, should likewise be wise and loving to easily quell animosities between Spaniards and the heathen, and therefore avoid war. The Spaniards should bring with them trinkets—beads, mirrors, knives—to distribute amongst the gentiles, so that they might come to love the Christians, and see “that they are coming to their lands to give them that of which they bring, and not to take away the Indians’ possessions, and may understand that they are seeking the good of their souls.” No women are to accompany the conquest, says Father Fray Antonio, “to avoid offenses to God.” * In 1955 Wallace Stevens admitted himself to St. Francis Hospital in Hartford, Connecticut. There, it’s rumored he converted to Catholicism before dying of stomach cancer, exclaiming to his priest after the baptism, “Now I am in the fold.” Stevens’s late-career poems seem less cynical, more in awe of being and death (read “Metaphor as Degeneration” from The Auroras of Autumn ). He could have chosen from at least three secular hospitals in Hartford at the time. * I was reading Stevens’s Collected Poems when I joined eHarmony and listed that as my “currently reading” book among the “more than twelve” books a year that I would read. I fell in love with my wife when she said, “Are you sending your work out to literary journals?” Prior to this, the first girl I talked to on the phone, when I explained my doctoral exams, said, “So, you’re like, reading Stephen King and stuff?” When I said not exactly she responded defensively: “He must be doing something right, since he makes all that money.” * Mom walked me, my brother, and sister, through the Stations of the Cross. We did this on Ash Wednesdays, or whenever she thought we needed extra God after church. It might’ve happened before church, though that’s unlikely because we were always late. Anyway, it’s easiest to walk the Stations of the Cross when there’s no one else around. To walk the actual Stations means one goes to Jerusalem and walks the Via Dolorosa to the Church of the Holy Sepulchre. So the Stations elsewhere—usually paintings, or low-relief sculptures upon church walls—serve as a kind of virtual Dolorosa. Mom held our hands and started from the rear of Our Lady of Refuge: the First Station. Mom said we should say a prayer at each Station and to think of all the pain Jesus went through so that we could go to Heaven. It was hard to keep thinking about that one thing for so long. My mind went to that Saturday’s little league game, to the donut and chocolate milk (our after-church reward from Castroville Bakery), and as I grew older I thought about girls. When you’re thirteen you can’t not think about the girl’s butt in the pew in front of yours as she kneels and stands to pray throughout mass. * It grew increasingly juvenile to lie awake at night daring myself to utter a simple sentence. Even if I said I didn’t believe in God, wouldn’t He know the truth? He was omniscient, like a narrator. Even the idea of Him as a him ceased making sense. Not only did this come with a budding realization of my paternalistic culture, but due to the simple question of why? If God was everything, everywhere, all knowing, then why would he be a man? There’s that question: If God is a man then God must have a penis, and if so, what for? * The Catholic Church incorporates some modern scientific research into its dogma concerning the formation of the Universe, Solar System, and Earth, as well as evolution. According to Catholic doctrine, in approximately the fifth millennia BCE, humans began to worship the one true God. Those humans were Adam and Eve, though the Church says humans had been around for thousands of years prior to Adam and Eve. The Church claims to be infallible. Every time the Church changes its doctrine it remains infallible. * One Catholic writer, Tom Meagher, writes that “Modernism[—]the idea that we come to our beliefs individually through emotional or personal experiences[—]has crept into our Catholic schools.” * Catholics believe that evil spirits, given power through Original Sin, can imbue ordinary inanimate objects of everyday use. Thus, such objects should be blessed in order to induce in them the desire to serve the good. Such objects are not limited to, but include, “new ships and boats, railways and trains, bridges, fountains, wells, cornmills, limekilns, smelting furnaces, telegrams, steam engines, and machines for providing electricity.” * In The Sound of Music Julie Andrews and Christopher Plummer sing together: “Nothing comes from nothing, nothing ever could...” * To explain competing theories on the very early universe, and pre-verse would be another book. What was the inflaton? Did (mem)branes collide, initiating the Big Bang, as opposed to Lemaître’s primordial atom, a singularity? Without a unified theory there’s gravity hanging out there, fucking everything up. We cannot make sense of the mechanics of the Planck Epoch—0-10-34 seconds into the Universe’s creation—named for Max Planck, who stumbled into the discovery of quantum mechanics in the early twentieth century. * My students often ask if I believe in God, since I espouse evolution, the Big Bang, Science, reject a strictly biblical or creationist theory of the Universe. I tell them that yes, I believe in God, though not the God that they imagine one must believe in. * When questioned regarding the rumor that, before his death, founder of quantum mechanics Max Planck had converted to Catholicism, he replied that he did not believe “in a personal God, let alone a Christian God.” * Physicist and Catholic priest George Lemaître, who formulated the theory and wrote the 1946 book The Primeval Atom Hypothesis , was made a household name by then-detractor Fred Hoyle, who pejoratively referred to the idea as a “Big Bang.” * Suicide is a mortal sin. To end one’s own life one must have despair, which is to lose hope, which is to lose faith, and to disbelieve in God. * Archaeology has uncovered graffiti in all of California’s missions—Indian pictographs inscribed into the adobe, covered with layers of whitewash. Native deities and depictions of cultural practices show that tribespeople never fully gave up their native traditions even after baptism and coming to the missions. There was something inside Native Californians that would never die. (shrink)

We establish a connection between T. Kuhn’s philosophy of science and a Wittgensteinian contextual realism, as we understand it, and interpret the basic concepts of the former in terms of the latter. In particular, we interpret the notion of a scientific paradigm in terms of the notion of a form of life. For instance, we speak of Newtonian and quantum mechanics as grammars of the corresponding forms of life. The incommensurability of paradigms is due to the adoption of different norms (...) (grammars). It is not absolute, as grammatical statements can change their status and become factual, and vice versa. Norms themselves evolve. We support Kuhn’s argument against Popper’s falsification principle with our interpretation of an established scientific theory as a Wittgensteinian norm (rule) for measuring reality. The norm is neither true nor false; its falsification makes no sense. We interpret Wittgenstein’s notion of a family resemblance, used by Kuhn, as the presence of a shared explicit or implicit Wittgensteinian rule (norm). We interpret Kuhn’s historical examples, in particular those with the systems of Ptolemy and Copernicus, relativity theory and quantum mechanics, and Kuhn’s view that participants in different paradigms see the world differently and that observation depends on theory, in terms of our thesis that ontology is sensitive to context. We thus resist the relativistic and constructivist interpretations of Kuhn’s position and show why it does not contradict the idea of scientific progress and the principle of correspondence between scientific theories. We also briefly compare Kuhn’s position with those of I. Lakatos, H. Chang (pragmatic realism) and J. MacFarlane (evaluative relativism), and compare our interpretation of Kuhn with his interpretation in terms of a naturalized transcendentalism proposed by M. Massimi. (shrink)

Wittgenstein explores learning through practice in the Philosophical Investigations by means of an extended analogy with games. However, does this concern with learning also necessarily extend to education, in our institutional understanding of the word? While Wittgenstein's examples of language learning and use are always shared or social, he does not discuss formal educational institutions as such. He does not wish to found a ‘school of thought’, and is suspicious of philosophy acting as a theory that can be (...) applied to other areas of life. While Wittgenstein's focus on developing independent thinking was neither individualistic nor anti-institutional, it did, however, focus on developing the thinking of his students rather than theorising about how this could be applied on a large scale. An analysis of Hermann Hesse's novel, The Glass Bead Game will help us to pick up where Wittgenstein deliberately left off—thinking about how (or if) one can institutionalise learning methods that encourage thinking for oneself. These differences in the writers’ treatment of education will become evident in the differences between their game analogies. While language-games combat our ‘craving for generality’ in Philosophical Investigations, the Glass Bead Game represents this craving, and how it manifests itself throughout history in disciplines other than logic and philosophy of language. It also represents the potential for institutions to become insular, exclusive communities. (shrink)

The emergence of shared symbol systems is considered to be a pivotal moment in human evolution and human development. These changes are normally explained by reference to changes in people's internal cognitive processes. We present 2 experiments which provide evidence that changes in the external, collaborative processes that people use to communicate can also affect the structure and organization of symbol systems independently of cognitive change. We propose that mutual‐modifiability—opportunities for people to edit or manipulate each other's contributions—is a key (...) constraint on the emergence of complex symbol systems. We discuss the implications for models of language development and the origins of compositionality. (shrink)

An important research direction in cognitive science consists of cross-comparing the forms of organization exhibited by different cognitive systems, with the long-range aim of ascertaining the overall character of human cognitive organization. Relatively distinct major cognitive systems of this sort would seem to include: perception, motor control, affect, reasoning, language, and cultural structure. The general finding is that some properties of organization are shown by only one system, some by several, and some by all. This arrangement is called the (...) "overlapping systems model of cognitive organization". This paper demonstrates the model by comparing properties of organization across language and vision. Language is first shown to represent certain features of cognitive organization not well realized in vision, such as the representation of "reality status", with such member notions as factual, conditional, potential, and counterfactual. In turn, vision is shown to represent certain features of organization not well realized in language, such as symmetry, rotation, dilation, and pattern of distribution. Finally, both language and vision are shown to represent certain features of organization in common, such as the schematization of spatial relations between objects. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Border CrossingEllen T. ArmourAs a philosophical theologian deeply formed by a long apprenticeship in continental philosophy, I find more points of entry into Kalpana Seshadri's HumAnimal: Race, Law, Language than I can possibly pass through in the space available to me here. Inevitably, whichever point of entry I take will violate what I take to be a core responsibility of a respondent: to hew closely to the text (...) in question, to trace in one's own words its outline in order to open it up to those who have not had the privilege to devote time and attention (those most valuable of assets for academics, it seems) to the project in question. Such a model of a responsible response itself bespeaks the central problematic of the project: the relationship between speech and silence, language and law, ethics and politics.And so I begin with a de-cision that is, simultaneously, an in-cision; I enter this text through this opening, not that, and in doing so, I relegate to a spectral silence of not-saying what other (in/de)cisions would bring to speech and/or to the invisibility of not-writing what other (in/de)cisions would render legible. In the spirit of a Derridean supplément, I hope to productively open and extend for you, if not precisely retrace, Seshadri's project.HumAnimal: Race, Law, Language (Seshadri 2012) is a brave book in many respects, but particularly in its attempt not just to delineate but to map out certain contested yet liminal spaces. In addition to those I've already mentioned, [End Page 175] let me add those between literature and philosophy, theology and philosophy, work and play, Agamben and Derrida, deconstruction and biopolitics, human and animal. (Any one of these alone would have been plenty for one book.) I take my mark from the site where these last two (or perhaps three) liminal spaces meet. First, allow me to indulge in a bit of intellectual autobiography: I began my career as a Derridean (and may yet end it that way … that remains to be seen), but have in the last few years, taken a decidedly more Foucauldian turn. Reading HumAnimal made me keenly aware of how profound a reorientation I have undergone in the process. And yet I entered into that process of reorientation (perhaps quite naively) sensing that, for all that separated Derrida from Foucault, deconstruction from biopolitics, they were not unconnected (please note the double negative). Thus, I found myself in deep sympathy with Seshadri's project in many ways. Whatever separates projects that foreground the machinations of power (as constitutive of knowledge, and vice versa) as object of analysis and those that foreground language (as constitutive of knowledge, and vice versa) as object of analysis,1 Seshadri's detailed readings suggest they share important points of overlap (which is not to say sameness). To a degree, then, HumAnimal undoes the very delineation between these kinds of projects that I just articulated. To be sure, Seshadri is aided a great deal in this by the fact that Agamben's own work invokes (though not uncritically) both Derridean and Foucauldian antecedents framed largely though not exclusively in and through the relationship between sovereignty and (bare) life.The book's title, HumAnimal: Race, Law, Language, names both the stakes of and framework for Seshadri's incision into this shared but contested space. Her neologism humAnimal marks a boundary integral to sovereignty's exercise, that between human and animal. The subtitle marks the forces at play in sovereignty's construction and its deployment. Race has often figured as the border demarcating those served by the law and those served up by it; those granted access to language and those denied it. Consignment to the nether side of law and language entails as well consignment to the nether side of the human/animal divide. The American practice of chattel slavery serves as one constitutive exemplar of a biopolitical and legal/linguistic regime in HumAnimal, as it will in my comments. But Seshadri seeks out the possibilities for resistance from this nether side; of possibilities opened up by and in silence, the suspension of law, and even... (shrink)

Wittgenstein’s language games can be put into a wider service by virtue of elements they share with some contemporary opinions concerning logic and the semantics of computation. I will give two examples: manifestations of language games and their possible variations in logical studies, and their role in some of the recent developments in computer science. It turns out that the current paradigm of computation that Girard termed Ludics bears a striking resemblance to members of language (...) games. Moreover, the kind of interrelations that are emerging could be scrutinised from the viewpoint of logic that virtually necessitates game-theoretic conceptualisations, demonstrating the fact that the meaning of utterances may, in many situations, be understood as Wittgenstein’s language games of ‘showing or telling what one sees’. This provides motivation for the use of games in relation to logic and formal semantics that some commentators have called for. Many of the ideas can be traced to C.S. Peirce, for whom signs were vehicles of strategic communication. The conclusion about Wittgenstein is that the notions of saying and showing converge in his late philosophy. (shrink)

Semantic networks were developed in cognitive science and artificial intelligence studies as graphical knowledge representation and inference tools emulating human thought processes. Formal analysis of the representation and inference capabilities of the networks modeled them as subsets of standard first-order logic (FOL), restricted in the operations allowed in order to ensure the tractability that seemed to characterize human reasoning capabilities. The graphical network representations were modeled as providing a visual language for the logic. Sub-sets of FOL targeted on knowledge (...) representation came to be called description logics, and research on these logics has focused on issues of tractability of subsets with differing representation capabilities, and on the implementation of practical inference systems achieving the best possible performance. Semantic network research has kept pace with these developments, providing visual languages for knowledge entry, editing, and presenting the results of inference, that translate unambiguously to the underlying description logics. This paper discusses the design issues for such semantic network formalisms, and illustrates them through detailed examples of significant generic knowledge structures analyzed in the literature, including determinables, contrast sets, genus/differentiae, taxonomies, faceted taxonomies, cluster concepts, family resemblances, graded concepts, frames, definitions, rules, rules with exceptions, essence and state assertions, opposites and contraries, relevance, and so on. Such examples provide important test material for any visual language formalism for logic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IS THERE A LANGUAGE-GAME THAT EVEN THE DECONSTRUCTIONIST CAN PLAY? by Steven Fuller After reading A. J. Cascardi's fascinating "Skepticism and Deconstruction," I am led to ask the question that "entitles" this response.1 The answer I want to give is "yes," but Cascardi has made the task more difficult than I would have liked. In brief, he has dissociated deconstruction from all philosophical pursuits, including skepticism, which it (...) superficially resembles. I shall proceed, first, by reasserting deconstruction 's skeptical credentials and, then, by showing how these credentials enable the deconstructionist to play an interesting language-game. I Cascardi's thesis is most vividly stated in the following passage: But the deconstructionist, wrongly thought of as a skeptic, has no idea of what an epistemology counter to his uncertainties and indeterminacies would look like. This is because he is out to question the very axis ofwhich skepticism and epistemology are the opposite poles. Because his questioning shows up as a denial of the principle of non-contradiction, one is likely to think that deconstruction is a form of irrationalism. (p. 7) For all its forcefulness, this statement suggests that Cascardi may have fallen prey to a Cartesian ruse involving the meaning of "skepticism." A coherent history of skepticism can be told that extends from Sextus Empiricus's Outlines ofPyrrhonism (c. 200 AD) to Pierre Bayle's Historical and Critical Dictionary (c. 1700) without ever mentioning Descartes. The theme 104 Steven fuller105 of this history would be that no claims to knowledge are certifiable. In a more modern vein, we would say that no proposition has a determinate truth-value. The skeptics in our history would be presented as moral philosophers instructing their readers on how to live in a world in which they can never tell the true from the false — a world in which doubt is the natural attitude. The paraphrase is crucial because virtually all philosophers — most notably Husserl — have regarded doubt as unnatural, a psychic tension that must somehow be resolved. And just as hunger motivates the drive for food, it has usually been assumed that doubt motivates the drive for method. Whereas food sustains the physical needs of the sentient being as it reduces hunger, so too method sustains the cognitive needs of the rational being as it reduces doubt. Our skeptics have perennially noted that to think of all knowledge claims as certifiably true or false would be to think that nature answers us directly upon being addressed. In less metaphorical terms, we would be speaking a language whose predicates pick out natural kinds. The "dogmatists," as Sextus and Bayle liked to call their opponents (we would now call them "foundationalists"), could then easily conceive of how nature appears to us as nature's response to our utterances. To drive home the dogmatists' intentionalist stance toward nature, instead of "how nature appears to us," we might say "how nature represents itselfto us." In the case of truths, nature represents itself transparently, while in the case of falsehoods, representation has gone awry: either we misspoke or nature deceived us. To put the blame on ourselves is to call for a revision in method; to put the blame on nature is to suspect that an evil designer, a Cartesian demon, is behind the faulty appearances. The point, of course, is that one needs to be a dogmatist in order to have Descartes's more demonic thoughts. The classical skeptic, who held the language-world link to be purely conventional, used the uncertifiability of knowledge claims as an argument for denying any design whatsoever to nature — either for good or for ill. Descartes muddled things, however, when he interpreted the skeptical stance as claiming that all knowledge claims may turn out to be false. From the First Meditation, it is never made clear why we should worry about the Cartesian demon (and hence send him into cognitive exile as quickly as possible). Presumably, the concern arises from the possibility of discovering that the appearances are indeed illusory — that is, certifiablyfalse. This concern becomes a full-fledged anxiety once the doubter realizes that he ultimately has no control over how his doubt is resolved. In other words... (shrink)

In previous essays (1973, 1975, 1977) I have praised Derrida's contributions to philosophical dialogue and also insisted on their limitations. The considerations raised in this present essay do not lead me to a position that is less ambivalent. Philosophy is a particular language-game. Like any other, it has its constitutive rules; or, perhaps better: its practice has certain distinctive features by means of which we recognize philosophizing and distinguish it from other linguistic activities. None of this can be set (...) down in the form of necessary and sufficient conditions, and there always will be large areas of controversy about the paradigms themselves. Nonetheless there are philosophers, and they generally acknowledge Plato, Aristotle, Leibniz, Hume, and even some of their colleagues as also being philosophers. This acknowledgement holds even where there is philosophical disagreement - as must inevitably be the case, in view of the dialogical character of philosophical discourse. Derrida occasionally enters into the dialogue, as do many others - poets, novelists, critics, diplomats, attorneys, cooks, barbers, and babysitters. These occasional contributions to philosophical dialogue differ in focus, in style, and in lack of self-referentiality from the works which constitute the main corpus of philosophy. Some might wish to say, as if the matter were paradoxical, that such contributions are both philosophical and not philosophical, or that they are neither philosophy nor not-philosophy. That might be as good a thing to say as anything. The practice of philosophy is complex and has many levels. Those who are acknowledged as its finest practitioners have a focus, a style, and a respect for where questions begin and end. Derrida does not share these qualities, and does not care to share them. That is no reason to ignore his work, but it is sufficient to explain why philosophers do not recognize it as a contribution to the central corpus of philosophy. (shrink)

The article begins by considering Wittgenstein’s notion of family-resemblance concepts. The article purports to defend that there is something wrong with the idea that language is a family-resemblance concept, that is, that we take behaviour as being linguistic merely in virtue of undetermined similarities with paradigmatic linguistic behaviour. In order to achieve this goal, it is first clarified in which sense so-called psychological concepts are not family-resemblance concepts. The essential link between the use of the expressions “language” and (...) “linguistic behaviour” and the use of some expressions conveying psychological concepts, such as “saying something”, is then demonstrated. (shrink)

Temporal coordination of vocal exchanges between mothers and their infants emerges from a developmental process that relies on the ability of communication partners to co-coordinate and predict each other’s turns. Consequently, the partners engage in communicative niche construction that forms a foundation for language in human infancy. While robust universals in vocal turn-taking have been found, differences in the timing of maternal and infant vocalizations have also been reported across cultures. In this study, we examine the temporal structure of (...) vocal interactions in 38 mother–infant dyads in the first two years across two cultures—American and Lebanese—by studying observed and randomized distributions of vocalizations, focusing on both gaps and overlaps in naturalistic 10-min vocal interactions. We conducted a series of simulations using Kolmogorov–Smirnov (K–S) tests to examine whether the observed responsivity patterns differed from randomly generated simulations of responsivity patterns in both Arabic and English for mothers responding to infants and for infants responding to mothers. Results revealed that both mothers and infants engaged in conversational alternation, with mothers acting similarly across cultures. By contrast, significant differences were observed in the timing of infant responses to maternal utterances, with the Lebanese infants’ tendency to cluster their responses in the first half-second after the offset of the Lebanese mothers’ utterances to a greater extent than their American counterparts. We speculate that the results may be due to potential phonotactic differences between Arabic and English and/or to differing child-rearing practices across Lebanese and American cultures. The findings may have implications for early identification of developmental disorders such as autism spectrum disorders within and across cultures. (shrink)

Like many sociocultural phenomena in Brazil, popular music, as everyone knows, is the result of a meeting of influences. It could almost be said that it is born a cross-breed, given the half-European, half-African origins of its best-known first genres, lundu, choro and maxixe. As a result of its history it comes under the sign of the Cannibalism, the metaphor invented by modernist writers in the 1920s to refer to the ‘ritual devouring’ by which Brazil assimilated foreign values and made (...) them its own.Caetano Veloso and Gilberto Gil readily used the concept of Cannibalism at the end of the 1960s, when they founded Tropicalismo, which claimed a mixture of genres, styles and arts as its basis, and married international pop music and Brazilian traditions, electric guitars and berimbau. Tropicalismo as such only lasted for a few months, but the ideas which it promoted profoundly marked contemporary Brazilian culture. Caetano Veloso returned to the history of this movement in Verdade Tropical, an autobiographical work in which he reveals his thoughts on a number of subjects close to his heart: music, the cinema, masters/teachers, friends, family, love, sexuality freedom, prison, exile, books, language, etc. For this author, composer, performer, actor, director, poet and prose writer, inveterate and voracious reader and incorrigible chatterbox, anything to do with human beings is fair game. For Caetano loves words, and loves to talk about words. As early as the acknowledgements page he praises Unamuno, the author, according to him, of comments which are “the most moving that a foreigner has ever written about the Portuguese language”. And in a chapter entitled ‘Língua’ he mentions not only the songs he has written in English and his interest in the Anglo-Saxon language, but also his attachment to Romance languages in general and Portuguese in particular. (shrink)

In Practical Philosophy Education, besides the learning of conceptual knowledge and working with an introspective method, students are actively engaged whereby they are played in a new form as a language game. The negative attitudes and the pretending performances were revised from the exercise of answering questions to asking question, and then to continue asking. 1957 Coffee proposes the “cross-questioning” model of using knowledge to play the “game” of philosophy. This playing experience is passed down intellectually in the form (...) of language game, which is to be replayed sentimentally in a theater game. As a pedagogic, the previous philosophical activities are exemplified in the younger generation’s way of learning and “replaying”. As a lifestyle, the historical classical thinking is continued, while the old games of philosophers are played with new and refreshing rules. (shrink)

Although language has long been regarded as a primarily arbitrary system, sound symbolism, or non-arbitrary correspondences between the sound of a word and its meaning, also exists in natural language. Previous research suggests that listeners are sensitive to sound symbolism. However, little is known about the specificity of these mappings. This study investigated whether sound symbolic properties correspond to specific meanings, or whether these properties generalize across semantic dimensions. In three experiments, native English-speaking adults heard sound symbolic foreign (...) words for dimensional adjective pairs and for each foreign word, selected a translation among English antonyms that either matched or mismatched with the correct meaning dimension. Listeners agreed more reliably on the English translation for matched relative to mismatched dimensions, though reliable cross-dimensional mappings did occur. These findings suggest that although sound symbolic properties generalize to meanings that may share overlapping semantic features, sound symbolic mappings offer semantic specificity. (shrink)

This study investigates how allomaternal care impacts human development outside of energetics by evaluating relations between important qualitative and quantitative aspects of AMC and developmental outcomes in a Western population. This study seeks to determine whether there are measurable differences in cognitive and language outcomes as predicted by differences in exposure to AMC via formal and informal networks. Data were collected from 102 mothers and their typically developing infants aged 13–18 months. AMC predictor data were collected using questionnaires, structured (...) daily diaries, and longitudinal interviews. Developmental outcomes were assessed using the Cognitive, Receptive Language, and Expressive Language subtests of the Bayley III Screening Test. Additional demographic covariates were also evaluated. Akaike Information Criterion -informed model selection was used to identify the best-fitting model for each outcome across three working linear regression models. Although AMC variables had no significant effects on Receptive and Expressive Language subtest scores, highly involved familial AMC had a significant medium effect on Cognitive subtest score. Formal childcare had no effect on any outcome. This study provides preliminary evidence that there is a measurable connection between AMC and cognitive development in some populations and provides a methodological base from which to assess these connections cross-culturally through future studies. As these effects are attributable to AMC interactions with networks of mostly related individuals, these findings present an area for further investigation regarding the kin selection hypothesis for AMC. (shrink)

Misinformation about the novel coronavirus is a pressing societal challenge. Across two studies, one preregistered, we assess the efficacy of two ‘prebunking’ interventions aimed at improving people’s ability to spot manipulation techniques commonly used in COVID-19 misinformation across three different languages. We find that Go Viral!, a novel five-minute browser game, increases the perceived manipulativeness of misinformation about COVID-19, improves people’s attitudinal certainty in their ability to spot misinformation and reduces self-reported willingness to share misinformation with others. The first two (...) effects remain significant for at least one week after gameplay. We also find that reading real-world infographics from UNESCO improves people’s ability and confidence in spotting COVID-19 misinformation. Limitations and implications for fake news interventions are discussed. (shrink)

This article discusses ‘Notes on Language Games’, written by Harold Garfinkel in 1960 and never before published, one of three distinct versions of his famous ‘Trust’ argument, i.e., that constitutive criteria define shared events, objects, and meanings. The argument stands in contrast to an approach to cultural anthropology that was becoming popular in 1960 called ‘ethnoscience’. In this previously unknown manuscript, Garfinkel proposes that cultural events and language events are the same, in that both are created through (...) constitutive commitments to interactional systems. The best-known version of the Trust argument (Garfinkel, 1963) emphasizes Schutz, while other versions build on Parsons (Garfinkel 2019). In this third version, the Trust conditions are elaborated in terms of Wittgenstein’s language games. Various strands of Garfinkel’s thinking about culture, language and interaction are interwoven. That Garfinkel was working with Parsons in 1960 to document a contractual basis for social events and their assembly practices in ‘systems of interaction’, a constitutive practice argument with roots in Durkheim’s work, is yet another strand. The article highlights how the Trust argument is the key to everything, not only ethnomethodology, but also Garfinkel’s attempt to develop a general sociology of culture, language and interaction. (shrink)

This dissertation presents an objection to Wittgenstein's concept of family resemblances, three possible solutions to the objection, evaluations of the solutions, and a sketch of Wittgenstein's approach to the objection. My thesis is that none of the three proposed solutions is satisfactory, but that Wittgenstein can deal with the objection. ;Chapter I presents the Problem of the Under-Determination of Extension, the claim that family resemblances are not enough to explain the extension of a concept, since resemblances may be postulated between (...) cases falling under different concepts. ;Chapters II and III discuss three solutions proposed by commentators on family resemblances. The Basic Predicates Solution claims that points of family resemblance are sufficient conditions, and is incorrect since Wittgenstein denies that one can infer the applicability of a concept based on the presence of a resemblance to an instance of the concept. The Simple Properties Solution claims that only some concepts are family resemblance concepts, and depend upon concepts which are not family resemblance concepts, and is incorrect, since Wittgenstein does not require that family resemblance concepts be reducible to non-family resemblance concepts. The Bi-Directional Determination of Concepts Solution is the claim that a concept is determined by an interaction between facts about cases subsumed under it, and needs and purposes of language-users. This solution is non-Wittgensteinian by ignoring the ramifications of his concepts of grammar and language-games. ;Chapter IV argues that Wittgenstein deals with the original objection by developing new models for understanding language, involving the concepts of grammar and language-games. (shrink)

The present paper argues that there is an affinity between Kuhn's "The Structure of Scientific Revolutions" and Wittgenstein's philosophy. It is maintained, in particular, that Kuhn's notion of paradigm draws on such Wittgensteinian concepts as language games, family resemblance, rules, forms of life. It is also claimed that Kuhn's incommensurability thesis is a sequel of the theory of meaning supplied by Wittgenstein's later philosophy. As such its assessment is not fallacious, since it is not an empirical hypothesis and (...) it does not have the relativistic implications Kuhn's critics repeatedly indicated. Although concepts are indeed relative to a language game or paradigm, interparadigmatic intelligibility is preserved through the standard techniques of translation or praxis. The impossibility of radical translation which is captured by the claim of incommensurability lies with that which cannot be said but only shown. (shrink)

The so-called ‘‘species problem’’ has plagued evolution- ary biology since before Darwin’s publication of the aptly titled Origin of Species. Many biologists think the problem is just a matter of semantics; others complain that it will not be solved until we have more empirical data. Yet, we don’t seem to be able to escape discussing it and teaching seminars about it. In this paper, I briefly examine the main themes of the biological and philosophical liter- atures on the species problem, (...) focusing on identifying common threads as well as relevant differences. I then argue two fundamental points. First, the species problem is not primarily an empirical one, but it is rather fraught with philosophical questions that require—but cannot be settled by—empirical evidence. Second, the (dis-)solution lies in explicitly adopting Wittgenstein’s idea of ‘‘family resemblance’’ or cluster concepts, and to consider spe- cies as an example of such concepts. This solution has several attractive features, including bringing together apparently diverging themes of discussion among bio- logists and philosophers. The current proposal is con- ceptually independent (though not incompatible) with the pluralist approach to the species problem advocated by Mishler, Donoghue, Kitcher and Dupre ́, which implies that distinct aspects of the species question need to be emphasized depending on the goals of the researcher. From the biological literature, the concept of species that most closely matches the philosophical discussion pre- sented here is Templeton’s cohesion idea. (shrink)

Wittgenstein has shown that that life, in the sense that applies in the first place to human beings, is inherently linguistic. In this paper, I ask what is involved in language, given that it is thus essential to life, answering that language – or concepts – must be both alive and the ground for life. This is explicated by a Wittgensteinian series of entailments of features. According to the first feature, concepts are not intentional engagements. The second feature (...) brings life back to concepts by describing them as inflectible: Attitudes, actions, conversations and other engagements inflect concepts, i.e., concepts take their particular characters in our actual engagements. However, inflections themselves would be reified together with the life they ground unless they could preserve the openness of concepts: hence the third feature of re-inflectibility. Finally, the openness of language must be revealed in actual life. This entails the possibility of conceptual ambivalence. (shrink)

I argue that close examination of Wittgenstein’s remarks on family resemblances shows that he is proposing a theory about the development of language over time. According to this theory, a concept is enlarged to a newly discovered object when it is similar to other objects falling under this concept. However, being empirical, theories of language-development cannot be regarded as philosophical positions. I therefore argue that Wittgenstein puts forward this theory only for therapeutical reasons. He thereby wants to bring (...) the metaphysical question “Why do we call all games ‘games’?” back to its everyday use. (shrink)

Even though there is an ineluctable abyss between Analytic and Continental Philosophy, it is not hard to argue that in his later works Ludwig Wittgenstein draws a closer philosophical attitude to the latter in terms of that the notions developed by him, such as language-games, family resemblances, meaning-in-use or rule-following, apart from his earlier nomological approach to language, leave room for various understandings and uncertainty in language. In the present work, my primary task is to concentrate (...) on the close relationship between the Wittgenstein’s notion of family resemblances and Gadamer’s idea of the fusion of horizons. But both philosophers, coincide in criticizing the authority of the Cartesian subject and private language and in allowing different understandings and uncertainty in language. Starting from this point of view, the linguistic turn, I will turn my remarks on the question how we learn color concepts since the structure of these concepts radically differs from the words that are able to subject to ostensive definitions. This last section will also offer a hermeneutical reading of Wittgenstein’s notion of family resemblances. (shrink)

For most of us, learning to communicate is as effortless as breathing, and like air, communication skills are elemental; integral to our human existence in this world. Our communicative competencies might be seen as a bridge, facilitating our relationship with the world we are immersed in. But what happens when a child has difficulty learning to communicate effectively? What happens when their most basic messages of hunger or thirst fail to be understood or they are unable to jointly share in (...) everyday experiences of curiosity, joy, frustration, or anger? In these situations, it is the role of the Speech-Language Pathologist (SLP) to span the distance between a child and their family, a child and the world, building a route for life experiences and understandings to cross over. An SLP often begins with assessment and after a brief interaction, an SLP may come to a ‘naming’ such as delay or disorder. While the caring professional may intend this naming to be helpful in better understanding a child or facilitating access to valuable support, this naming may also place an immeasurable weight upon the child and their family. The act of naming is therefore an ethical concern. Through observation and interviews, this paper presentation explores SLP’s experiences of coming to a diagnosis through the human lens of phenomenological inquiry. It seeks to enhance thoughtful and conscientious practice by considering the ‘ethical experience of caring responsibility’ as applied to SLP (van Manen, 2016). (shrink)

The global burden of obesity has risen due to various factors, including sociocultural aspects. Social representations (SRs) of obesity could help to understand the problem. Nowadays, social networks activate new social interaction processes and enable the construction of SRs. Tweets can identify mind-sets as cultural reflections of the times. This study aimed to identify widely shared obesity topics on Twitter-Argentina using Natural Language Processing. First, 134,766 Spanish tweets about obesity were collected from August 2021 to July 2022. Next, a (...) geolocation filter removed non-Argentinian messages, leaving 48,149 tweets. The body text was cleaned and prepared for analysis. K-means clustering model was applied and 21 clusters were identified after reaching theoretical saturation. Then, 10 tweets from each cluster were randomly selected to analyse word usage and identify cluster themes. Thus, the main themes were “Gender-related”, “Obesity and family”, “Hate speech and fatphobia”, “Body image, perceptions and feelings”, “Public health actions” and “Obesity as a health-disease process”. These aggregations allowed us to understand obesity as a sociocultural phenomenon, the Argentinian culture-specific discourses surrounding it, and their connections to health. We firmly believe that this valuable information will enlighten the planning of future social-political actions to address this health-disease process. (shrink)

In this paper I investigate whether "depression" is a vague concept in psychiatry and the consequence of this for philosophers who would like to contribute to the elaboration of an objective definition of it. Assuming that this concept aims at referring to a mental disorder, I show that the current definition of "depression" is controverted: we lack a unified scientific model of it, so a consensual objective definition of it. Actually there is its clinical definition in the nosology but this (...) definition consisting in a list of criteria is accused of being unsufficient to draw a sharp limit between normal and pathological cases. Hence vague boundaries of the extension of the concept as referring to a mental disorder. Moreover its clinical criteria, as descriptive and non distinctive, need to be interpreted by clinicians in a way that remains implicit and contextually variable, and they can apply to completely different clinical pictures. I interpret this as a variability of the descriptive definition of "depression", so that its conditions of use depend on the context: it may apply to two cases that have nothing in common except similarities. Applying the famous wittgensteinien characterization of the concept of "game" to "depression", I argue that this vagueness can be interpreted as showing that "depression" works as cluster of concepts whose instances only share "family resemblances". From this philosophical interpretation I draw the conclusion that the "vagueness problem" of depression at a theoretical level does not make the use of this concept problematic, since this in practice use is always related to a context conferring a specific meaning to the concept. I conclude that philosophers should not look in the clinical sciences for an objective definition of depression as a list of necessary and sufficient conditions pointing at its essence: they should rather either describe the family resemblances between the different versions of this concept, or try to stipulate a definition providing it sharp boundaries. A stipulative definition would be motivated by a pragmatic purpose while not delegitimizing other uses that could be made of the concept. Such a purpose could be to target only medically relevant conditions; actually such conditions do not necessarily have to be conceived of as conditions where there is a disease understood as pathological process that we could objectively define, but they can be seen as conditions that we have medical means to take care of with more benefits than disadvantages. (shrink)

Wittgenstein's illustrative comparison of linguistic activities with games, his defence of a single term for items having no more than a ‘family resemblance’ and not even one common distinguishing feature, and his objections to any proposal seeming to imply an unshareably private language appear to have been accepted as interesting and important if not always as persuasive in English language philosophy. But these themes, and others introduced along with them are most often taken as separate items, belonging (...) to distinct compartments of philosophy, and justice is not done to their inter-connections and coherence. (shrink)

Language-Game vs. Complete Language. The article formulates a criticism of Wittgenstein's later philosophy which, in its substance, I would like to think, is fairly the same as the (hermeneutic) criticism issued by Apel and Habermas in the sixties. Contrary to these philosophers, however, I try to make the point by focusing on the distinction between language game and language, respectively between intralanguage relations of 'family resemblance' (between language games) and interlanguage translation relations. The notion (...) of a 'complete language' is introduced - 'completeness' of a language being, roughly, its possibility in principle of being translated into any (other) language - and the criticism of Wittgenstein is formulated as the allegation that he does not, or will not, acknowledge such a concept of completeness. So far the contents of the first part of the article. The rest of it assembles some hints, remarks and reminders which bear upon the question of the 'completeness' of a language. These considerations include comments on the conditions of translatability, on the performative (agent's) knowledge or 'intention-in-action' of the acting person, on Habermas' concept of communicative competence and on the notion of a responsible subject of action. It is alleged that to speak of 'translation' and 'reporting an event' as language games is misleading. (shrink)

Proponents of the “literacy” thesis share with proponents of the “extended mind” thesis the viewpoint that communication systems such as language or writing have cognitive implications that go beyond their purely social and communicative purposes. Conceiving of media as extensions of the mind thus has the potential to bring together and cross-fertilize research programs that are currently placed in distant corners of the study of mind, language, and society. In this issue, we bring together authors with a diverse (...) set of interests to identify promising areas of overlap, blaze new trails for us to explore, but also to highlight dissonances and challenges that will have to be addressed in future work. (shrink)

Despite the prevalence of the virtue of considerateness in everyday moral discourse and the proliferation of philosophical studies of virtue language, considerateness hardly ever appears on philosophical agendas. When discussed in academia, its meaning seems fuzzy and unclear. This article makes amends for this gap by subjecting considerateness to conceptual scrutiny. The author argues that considerateness designates a cluster concept, encompassing three types of virtuousness that share a family resemblance only. One is a hybrid civic-moral social-glue virtue, extensionally (...) equivalent to Aristotle's virtue of agreeableness. The second is an intellectual virtue of phronetic consideration (moral sensitivity and integration). The third is a full-fledged discrete moral virtue with standard Aristotelian features of a golden-mean structure and an emotional component as a motivator. The advantages of identifying these three types of virtuousness are elicited, as are some of the educational ramifications of analyzing the differentia of considerateness in this way. (shrink)

How do the pictures Wittgenstein and his relatives took during his life relate to his philosophical work? The exhibition at the Leopold Museum in Vienna in 2021 demonstrated a complex network of resemblances, overlaps, and cross-references between Wittgenstein’s way of working and the pictures he collected. In this essay, the network is used as an example to argue that a combination of philosophy and artistic sensibility might be a fruitful enrichment for a philosophical practise.

This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning (...) to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery's concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness. Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning. (shrink)

Wittgenstein's complex and demanding work challenges much that is taken for granted in philosophical thinking as well as in the theorizing of art, theology, science and culture. Each essay in this collection explores a key concept involved in Wittgenstein's thinking, relating it to his understanding of philosophy, and outlining the arguments and explaining the implications of each concept. Concepts covered include grammar, meaning and meaning-blindness language-games and private language, family resemblances, psychologism, rule-following, teaching and learning, avowals, Moore's (...) Paradox, aspect seeing, the meter-stick, and criteria. Students new to Wittgenstein and readers interested in developing their understanding of specific aspects of his philosophical work will find this book very welcome. (shrink)

Our studies of naturally occurring human dialogue have led to the recognition of a class of regularities which characterize impoltant aspects of communication. People appear to interact according to established patterns which span several turns in a dialogue and which recur frequently. These patterns appear to be organized around the goals which the dialogue serves for each participant. Many things which are said later in a dialogue can only be interpreted as pursuit of these goals, established by earlier dialogue.These patterns (...) have been represented b) a set of knowledge structures called Dialogue‐Games, capturing shared, conventional knowledge that people have about communication and how it can be used to achieve goals. A Dialogue‐Game has Parameters, which represent those elements that vary across instances of a particular pattern‐the particular dialogue participants and the content topic. The states of the world which must be in effect for a particular Dialogue‐Game to be employed successfully are represented by Specifications of these Parameters. Finally, the expected sequence of intermediate states that occur during instances of a particular conventional pattern are represented by the Components of the corresponding Dialogue‐Game.Representations for several Dialogue‐Games are presented here, based on our analyses of different kinds of naturally occurring dialogue. A process model is discussed, showing Dialogue‐Game identification, pursuit, and termination as part of the comprehension of dialogue utterances. This Dialogue‐Game model captures some of the important functional aspects of language, especially indirect uses to achieve implicit communication. (shrink)

"[Reading Ebersole] requires and often succeeds in producing a radical reorientation of one´s thinking . . . " from a book review Things We Know is a collection of fifteen essays that focus on perennial philosophical problems about knowledge. The essays let you participate in Frank Ebersole´s unique struggles to come to terms with such questions as: Can we know the world? . . . the past? . . . the future? . . . of God´s existence? . . . (...) whether our actions are free? . . . the foundations of logic and language? This is not just another philosophy book about problems of knowledge. In Things We Know, Ebersole, by carefully using examples, exposes the problems to be the products of philosophical pictures. The examples also make the pictures less compelling. Thus, by reading this philosophy book readers can join the author in working to free themselves from some perplexing philosophical concerns. How the Second Edition differs from the First Edition This edition differs from the First Edition (University of Oregon Books, 1967) in three ways. An essay is added. "Everyman´s Ontological Argument" has been inserted as Essay 14, following two other essays about the ontological argument. "Everyman´s Ontological Argument" was published in the Fall 1978 issue of Philosophical Investigations. (The original Chapter 14, "Where the Action Is," is now Chapter 15.) An essay is replaced. The original Essay 3, "How Philosophers See Stars," has been replaced by a modified version that was printed in Philosophy Today (no. 2, 1969). The replacement includes some further improvements. The text is improved. Throughout the book, the author has made corrections, stylistic improvements, and changed the wording as needed to make clearer his line of thought. Summary Each of the fifteen essays takes up a philosophical problem. In most of the essays, Ebersole first clarifies the problem and reviews common attempts to resolve the problem. Then he focuses on the central ideas and terms used to state the problem and creates examples of people using the terms under consideration. The examples are unique because of their focus on the context and point of what we say. If his investigations fail to find a use of the terms that supports the philosophical problem, he is led to conclude that the problem does not really derive from a philosophical insight but rather arises from a philosophical picture or model. Preface The essays in Things We Know address some of the perennial philosophical problems of knowledge. The essays are unified by being similar in method and philosophic aim. Ebersole exposes a picture behind each problem. In the essays he works through some of the ways that pictures control our thinking and tries to make the pictures less compelling. Chapters 1 6: Perception and Language Chapter 1: "Seeing Red in Red Things" Philosophical problem: Must words for simple visual properties (e.g., "red") refer to things because the things share some property (e.g., redness)? Can we see this property? Topics investigated: Family resemblances, properties of colors, when we regard things as the same, when we regard colors as the same, when we regard things as having common properties, language-world philosophical pictures. Philosophers discussed: A. J. Ayer, J. Herder, J. S. Mill. Chapter 2: "Seeing Things" Philosophical problem: Do hallucinations and afterimage. (shrink)

Mental representations remain the central posits of psychology after many decades of scrutiny. However, there is no consensus about the representational format(s) of biological cognition. This paper provides a survey of evidence from computational cognitive psychology, perceptual psychology, developmental psychology, comparative psychology, and social psychology, and concludes that one type of format that routinely crops up is the language-of-thought (LoT). We outline six core properties of LoTs: (i) discrete constituents; (ii) role-filler independence; (iii) predicate–argument structure; (iv) logical operators; (v) (...) inferential promiscuity; and (vi) abstract content. These properties cluster together throughout cognitive science. Bayesian computational modeling, compositional features of object perception, complex infant and animal reasoning, and automatic, intuitive cognition in adults all implicate LoT-like structures. Instead of regarding LoT as a relic of the previous century, researchers in cognitive science and philosophy-of-mind must take seriously the explanatory breadth of LoT-based architectures. We grant that the mind may harbor many formats and architectures, including iconic and associative structures as well as deep-neural-network-like architectures. However, as computational/representational approaches to the mind continue to advance, classical compositional symbolic structures – that is, LoTs – only prove more flexible and well-supported over time. (shrink)

This paper argues that pre‐departure language requirements for family reunification are unjustified. Such requirements are assumed to safeguard (1) the non‐instrumental cultural interests of citizens of the receiving society and (2) the instrumental language interests of both citizens and immigrants, for democratic life and political participation. The paper explores nationalist and multiculturalist arguments for implementing post‐arrival integration to ensure a shared public language but contends that such arguments cannot justify pre‐departure language requirements. In addition, instrumental (...) class='Hi'>language interests for democratic political life fall empirically short and place undue burdens on immigrants. The case of family reunification poses a unique moral problem, given the vital interest in living with one's family. The paper argues that the linguistic interests of the receiving state, in general, do not outweigh the claim to family reunification. (shrink)