By Rush Rhees
Rush Rhees, a detailed good friend of Wittgenstein and a tremendous interpreter of his paintings, indicates how Wittgenstein's On sure bet issues good judgment, language, and truth – subject matters that occupied Wittgenstein considering early in his career.Authoritative interpretation of Wittgenstein's final nice paintings, On sure bet, via one in all his closest associates. Debunks misconceptions approximately Wittgenstein's On simple task and exhibits that it's an essay on common sense. Exposes the continuity in Wittgenstein's inspiration, and the unconventional personality of his conclusions. incorporates a tremendous and illuminating afterword discussing present scholarship surrounding On walk in the park, and its dating to Rhees's paintings in this topic.
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Extra info for Wittgenstein's On Certainty: There - Like Our Life
But what right should we have to call these people’s words ‘red’ and ‘blue’ our ‘colour-words’? How would they learn to use these words? And is the language-game which they learn still such as we call the use of ‘names of colour’? 7 ‘The agreement in colour judgements’ – is that an empirical or a grammatical remark? It is not like: ‘Most people prefer this kind of wine’, where we can imagine the contrary. If we didn’t agree about colours we couldn’t speak of judgements of colour at all. You can’t learn the colour word as an individual as though the agreement were one you could check directly, like seeing one’s hand in contact with a chair.
If you were asked what you’d learned or come to see in the custom and upbringing Wittgenstein refers to, would you include seeing it under certain aspects? No! It is more like the remark in On Certainty that if a child is told someone climbed a mountain some time ago, you aren’t taught that the mountain exists. You swallow that down with what you do learn. Wittgenstein gives many examples of ‘seeing as’, but there are differences between them. The duck-rabbit – seeing it one way or the other depends on one’s experience in other contexts, whereas seeing a white cross on a black background or vice versa does not depend on previous experience of that sort at all.
But it is not at all like the relation of the word ‘flower’ to the flower-bed. You have to consider contexts in which people do say ‘I was saying to myself …’ and also the criteria by which you’d judge whether people are being truthful. At this point we’d return to Wittgenstein’s discussion of the game of guessing people’s thoughts, and the criterion of truthfulness discussed in the previous section (see p. 24–5). This is not like checking quotations against what is written on a certain page. 33 PICTURING REALITY 6 PICTURING REALITY In sections 4 and 5 we mentioned Wittgenstein’s concern with the representational character of language.
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