By G.L. Hagberg
"[Art as Language] is in itself super precious to illustrate of the nonetheless mostly unappreciated relevance of Wittgenstein's paintings to standard philosophical matters. . . . This publication, as a kind of encyclopedic critique of aesthetic theories from a Wittgensteinian viewpoint, may be enlightening to aesthetic theorists who need to know, now not what Wittgenstein stated approximately paintings, yet what the relevance of his paintings is to their use of language as some extent of reference for reading art."―Choice"In a sequence of acute arguments, Hagberg dismantles the sector of grand aesthetic conception that defines artwork within the phrases philosophy has routinely used to outline language. . . . Written with excellence in argumentation, judiciousness, and a capacious wisdom of Wittgenstein."―Daniel Herwitz, universal Knowledge"A transparent and clever ebook. Hagberg's method is to teach the implications of keeping a Wittgensteinian view of language and brain for classy theories that are both in line with, or analogous to, different non-Wittgensteinian positions approximately language and brain. this is often a tremendous project."―Stanley Bates, Middlebury collage
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Additional resources for Art As Language: Wittgenstein, Meaning, and Aesthetic Theory
Rancière has explained that he intended to counterpose this workers’ voice to those of its would-be representatives. He was soon forced to abandon the initial outlines of the project for the simple reason that no such culture exists. What he encountered instead was a strange hybrid culture, in which workers refused to behave as workers. ”50 Workers did not simply struggle, as a certain line of thought would expect, nor did they valorize the trades they were compelled to adopt out of economic necessity; they founded journals, composed poetry, and imitated “bourgeois” forms of aesthetic contemplation.
Whereas the police defines the polis as unified and whole, 43 JACQUES RANCIÈRE: AN INTRODUCTION politics consists of contesting the very definition of the community. The part of those without part is a construction that disturbs the city’s logic of counting by inscribing within it an agent not reducible to one of the existing factions. The de-mos, in whatever period it finds itself, is that collective subject that comes into being by resisting the attempt of the few to apportion for themselves the rights to direct the community.
To use a term central to Rancière’s later political writings, we can say that their activities were a means of “dis-identification” in that they allowed workers to reject their assigned position in the division of labor through the assumption of capacities they were not thought to possess. It is crucial for Rancière that these workers embraced modes of expression thought to be foreign to their station. In contrast to the tenets of Althusserian science, these workers sought to establish 24 FOR A CRITIQUE OF PHILOSOPHY relationships of equality with owners and managers by deploying humanistic concepts.
Art As Language: Wittgenstein, Meaning, and Aesthetic Theory by G.L. Hagberg